Lürzer's Archive 223 (international edition) 2/23

Lürzer’s Archive Issue 223 2/2023

EUR 18.90 ISSN 1727-3218 LuerzersArchive.com

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UPFRONT

When I met David Lubars a month or two back to plan the interview we did together for this issue, he told me a joke. It was a kind of ‘shaggy dog story’.

I liked it and told it to at least three other people. It went down well, or at least they seemed to find it amusing, although I knew I wasn’t telling the joke anywhere near as well as David. His perfectly-timed narrative was a way of illustrating the limits of AI; it centered around some quirky points of human experience and culture, and how we often connect in ways beyond easy explanation. I didn’t quite nail it but for some days managed a passable impression.

Of course, it would be best if I told you the joke at this point and let you make your own mind up on what we may call here The Lubars Theory of AI Limitation. The story hung on how somebody believes they have understood something but have actually misunderstood a key point — with punchline consequences. However, as you may have guessed by now, I forgot the joke, at least I don’t trust myself to fumble through it, thanks to fuzzy memories. I also suspect that it wouldn’t work as well written down as when delivered verbally by a master storyteller. There may be something funny, or at least ironic, in that my failing to recall a story about human failings hangs on a story about AI’s inherent failing to be of our species (with the inconsistencies that must come with that).

Alan’s work features in Classics, page 204.

A fuller obituary on Alan can be read here: bit.ly/3p9KF5x

The limitations of AI touched on in my shaggy dog distraction are also obliquely recalled in the true story that, with great sadness, I have to tell you now. Alan Page, co-director of this publication, and my great business partner and long-time friend, died in early May. Almost two years ago, we took on the great responsibility of running Lürzer’s Archive. We were immensely excited by the challenge of building this publication to be everything that we and our colleagues — and of course you — might want from it now and in the years ahead. Alan, a much-awarded copywriter and creative director and a long-time admirer of Lürzer’s Archive, at times couldn’t believe his luck to have such a wonderful and challenging responsibility on his hands.

If you like anything we have been doing recently, or in the year or so ahead, it will be due in no small part to Alan’s ideas and hard work. He was determined to ensure Lürzer’s Archive could grow as a great, generous-spirited central point of inspiration for the creative community. He cared deeply for our role in helping develop creative standards and encouraging wider opportunities for young creatives to come into the industry.

His vision and guiding ideas will live on. Mmm … that’s a statement that AI could have crafted. What AI can’t get across, that David’s story illustrated, is that there is something so intensely human about what it takes to make us laugh, love, cry and grieve. Alan knew that and all who knew him appreciate it all the more with his passing.

And so … onward. Issue 223, one of many more we plan for Alan and for all, wherever you are now.

Yours

Lewis Blackwell, Director Lürzer’s Archive

Vol 2/2023

1

[41]

[141]

[10]

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Contents

1

UPFRONT

4

THE SMALL PRINT

6

ECLECTIC

10 INTERVIEW David Lubars 16 PRINT WORK Ranking 143 FILM WORK 152 INTERVIEW Fura Johannesdottir 159 BEAUTY+ FASHION SPECIAL REPORT Seriously Superficial 203 BACKDROP Classics Reviews

THE SMALL PRINT LÜRZER’S ARCHIVE Issue 223 2/2023

Lürzer’s Archive Issue 223 2/2023

ISSN 1727- 3218 ISBN 978 - 3 - 903909 - 03 - 8 Cover: Client Fridays for Future Agency Fred & Farid, Los Angeles Art Direction Radouane Guissi Copywriter Radouane Guissi Digital Artist Benjamin Benichou

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 Contributing Editor Maeve O’Sullivan

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

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

Editorial Research Josh Lambie

Director Lewis Blackwell

Ad Sales USA Claudia Coffman

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Lürzer’s Archive

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

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

PHOTOGRAPHY & POST PRODUCTION food, beverage, still life, food styling www.piuluce.com - info@piuluce.com - +39 011 19711980

ECLECTIC

Shower thoughts The spark of original thought often comes when least expected. Many swear by the inspirational properties of morning ablutions.

Recent Archive creatives here share with us off-beat insights that have come to them in the shower and elsewhere.

WIHAN MEERHOLZ Digital Creative Director DDB Aotearoa, Auckland, New Zealand If something important happens today, is it already history?

JOHN BOONE Freelance Art Director/CD Charlotte, North Carolina What if someday we actually found “Bigfoot” and he really was blurry?

MARÍA LUJÁN DONAIRE Executive Creative Director HOY by Havas, Buenos Aires I would like somebody smarter than me who could use big data to create something to make people find their twin soul, crossing data such as interests, likes, past relationships, profession, cultural context, etc. The real question here is if falling in love with somebody could be the factual result of this crossing information or not. Is that enough or is love completely unpredictable? Who knows? The future will provide. Future love looks like … ?

MATTHIJS VAN RUMPT Copywriter KesselsKramer, Amsterdam I can’t stop thinking about shower thoughts.

Shower thoughts are good but too many thoughts are bad for the environment. Try keeping it under five thoughts per shower.

Maybe there are more sustainable places for thoughts ... Rain thoughts. Sweat thoughts.

Tear thoughts?

Lürzer’s Archive

JAMES CROSS CCO & Founder Meanwhile, Manchester Why can you never remember the last thing you thought of before falling asleep?

IVAN LOOS Regional Creative Director Publicis Groupe, Singapore Assuming there’s life on Mars, would their movies show humans as aliens?

HANS-PETER SPORER Managing Creative Director thjnk, Munich If an AI would be able to choose its own gender, would it prefer to be male or female?

MARTINA ODOLI CARAVAJAL Illustrator & Junior Art Director Wunderman Thompson, Milan Lately, I’ve been thinking about how fashion can promote such a throwaway culture. So my shower thought is: could fashion glamourize even the sewer?

SARA ARMENGOL ABAD Art Director Edelman, Madrid Why do girls act like dealers when they’re just thoughtfully passing another girl a tampon?

ELISA KONTTINEN Creative Lead at Reaktor Creative, Helsinki Have you ever considered the possibility of being reborn as the most annoying character you once wrote into a random sausage advertisement?

ARIANNA MONTOYA Copywriter Garnier BBDO, San Jose As a species we’ve existed for more than 300,000 years, with an average life expectancy of c. 72 years. A typical life accounts for only 0.00024% of our species’ entire existence. We are a mere speck in time. I think of that when I’m being too hard on myself.

Vol 2/2023

6–7

ECLECTIC

RAFAEL MEREL Vice President Heads Propaganda, São Paulo Why are traffic lights not synchronized, so drivers don’t have to stop every block for a red light? And with so many bad drivers on the ground, why would anyone want flying cars?

To fly...isn’t it amazing how far humans have come? Creativity is just like that. You just have to connect the dots.

CATRIN ROTH Senior Art Director Hey David, Stuttgart, Germany No one would run a marathon if they weren’t allowed to talk about it.

CARMEN FENECH Senior Art Director Hill Holliday, Boston There should be a clock that you use just for daylight savings. You can only use it once a year, and it goes straight from 1am to 3am.

SYEDA AYESHA IKRAM Executive Creative Director, BBDO Indonesia, Jakarta What determines any form of intelligence to be stated as artificial? Just because I do not know where this thought came from doesn’t qualify it as natural.

MÉLISSA CHARLAND Creative Director Publicis, Montreal Brain freeze is like a hangover for kids. Instant regret.

Followed by wanting more ice cream.

Lürzer’s Archive

PEDRO AMERICO Executive Creative Director McCann Germany, Berlin We never turn our minds off. So we should keep up to it.

Once I read about this famous singer from Brazil, Roberto Carlos, that he would walk around with a recorder to not forget ideas for songs on the go they would appear.

And since then, I’ve been doing the same. Always have a place to register your ideas. Use your phone. Voice memo. Text notes. A notepad. A napkin. Doesn’t matter.

Jon Bielaski

Ryan Schude

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For our first The Creative Life feature, we thought one of our most entertaining and informative past interviewees might be the right starting point.

Nobody seemed more appropriate for the invitation to be subjected to left-field questioning than David Lubars, long-time CCO and Chair of BBDO Worldwide. Fortunately, he said yes …

Lürzer’s Archive

THE CREATIVE LIFE

David’s different tunings L[A] What is the biggest change in your work in the few years since we last interviewed you in 2016?

DL That’s easy: how to create magic during a pandemic – the struggle of trying to capture it over a screen instead of in person. Happy accidents happen live, where an unplanned hallway exchange can change everything. At a creative house, the team is all important, we had to overcome not having those spontaneous sparks.

L[A] At BBDO, what haven’t you done yet that you are keen to do?

DL The thing our clients value most about us is that we’re reductionists. In other words, our ability to take a complex, multi-tiered problem and break it down to a simple truth. And reveal that truth with effervescence and magic. There are no shortcuts, you need to do the rigor. So, the thing BBDO is keen to do … is remain great at it. The hardest thing to do in any field is maintain greatness.

It’s easy to have a good one-off here or there, but the people I respect – and the agencies I admire – deliver year after year, decade after decade.

L[A] What’s the most underrated, or perhaps misunderstood, thing about running a creative agency?

DL There’s no secret. We believe deeply in creativity as an economic multiplier, and we kill ourselves to prove it to our clients every day.

L[A] What do you love to do at the weekend?

DL If I’m not working, then I like to let the work part of my brain [laughs] … heal.

L[A] As somebody who started out wanting to be a journalist, and is quoted as saying that ‘the truth is the only thing that works in advertising’, have you any advice on where or how to look for/find the truth?

DL Every great brand has a great truth. It’s waiting to be revealed or waiting to be revealed in the right light. How to discover it is what makes agencies unique from one another because there’s no one way. Data is important, gut and intuition are important; it’s a stew that needs to be stirred just right.

L[A] Please refer us to the recent BBDO project, or projects, that you think Lürzer’s readers might be most informed, entertained, or inspired by.

DL I don’t know that there’s an underrated or misunderstood thing – it’s more that people seem mystified by it. I’m often asked about our culture and what we do to make the place what it is.

Simple: our people are extremely talented and extremely un-assholey. Attract a core group like that and the rest takes care of itself.

DL Off the top of my head: The Missing Matoaka project from Toronto; the Skinny outdoor/radio campaign from New Zealand; the An Nahar Newspaper program from Dubai; and the M&Ms spokescandy ’cancellation’ from New York. These were extraordinarily effective because they not only had powerful, unique messages but also achieved fame and became part of the cultural zeitgeist – that’s BBDO when all cylinders are firing.

L[A] Some great agency and network names have disappeared in recent years. BBDO is still up there. What’s the secret?

L[A] If you are on a long flight (and you don’t need to catch up on sleep) what do you choose to do?

Vol 2/2023

10–11

Lürzer’s Archive

THE CREATIVE LIFE

‘I’m often asked about our culture and what we do to make the place what it is.

Simple: our people are extremely talented and extremely un-assholey.’

Vol 2/2023

12–13

THE CREATIVE LIFE

Above left: New Zealand telco Skinny got across its lowcost message with a campaign by Colenso BBDO that had the public literally dial in their version of radio ads using scripts that had been placed around the country on posters, beer mats and more.

Above middle: Lebanese newspaper An-Nazar in Beirut, defying Government oppression and determined to uphold the freedom of the press and honour their assassinated editor-in-chief, printed a supplement in its pages, giving fresh voice to six forcibly terminated publications that gave fresh voice to writers from six suppressed publications.

A project created with Impact BBDO. Above right: The Missing Matoaka by BBDO Canada created a whole new audio track for the film Pocahontas, so as to tell the story from an indigenous Canadian perspective (Matoaka being the original name of Pocahontas). The romantic myth was replaced by a grim yet compelling tale of abduction, rape and murder. Client: Muskrat Magazine.

Left: For M&M’s, in and around the Super Bowl this year, BBDO New York created an integrated campaign that enraged and engaged fans everywhere when for a while it seemed the famous ‘spokescandy’ characters were destined to be dropped. Somehow they were saved …

DL First, finish up whatever work is brewing. Then watch a movie. Then listen to music and read. Then feel sleepy as we’re about to land.

something less well-known but more forward-thinking. Something that made me jealous because we weren’t doing it. In return, we demonstrated how to do it more famously, a quid pro quo.

L[A] You’ve shared terrific creative influences/inspirations previously in interviews with us. What might you add to the list from fresh discoveries in the last year or two?

(Can be from all kinds of media/disciplines.)

L[A] I read that you practice transcendental meditation.

Has that changed how you approach your work?

DL Lately, I’ve been playing guitar using different tunings. It not only makes you sound better than you are but requires you to sort of relearn how to play because the voicings are all different. It rewires your brain in a way and opens new pathways to creativity.

Only guitar nerds will understand this: I’ve been messing around with open G, dropped D, EEEEBE, DADGAD, and dropped C with a second fret capo.

L[A] Finding and nurturing creative talent is a big part of being an effective creative leader. How has that changed in recent times? Is it easier or harder to get good talent into agencies, and has the nature of the talent that is needed evolved?

DL Recruiting and nurturing creative talent is the most important thing I do. I make a point of meeting as many of the creative people we’re thinking of hiring as I can. It goes back to your earlier question about the secret of BBDO being ‘still up there.’ Part of the answer is the injection of people into the agency’s bloodstream who can teach us new things. In some instances, I’ve passed on a more famous book, instead going for someone who was maybe doing Lürzer’s Archive

DL It hasn’t really changed how I work but it’s changed the way I sleep in a good way – which, I suppose, helps the work.

L[A] Finally ... what question haven’t we asked that would be good to ask you?

DL

Is it true you once almost ran over Joni Mitchell?

DL [laughs] I was leaving a parking garage that had a driveway lined with tall bushes on one side. This was in a part of Los Angeles where no one walks – yet, out of nowhere, Joni Mitchell burst through the bushes in front of the car. I was, like, ‘Hey, Joni Mitchell, not cool.’ Occurs to me only now I should’ve asked about her guitar tunings.

David Lubars is Chair and Chief Creative Officer of BBDO Worldwide. For more on his experience and insight, read our three previous interviews with him online.

If you have an unusual question to add to our next Creative Life interview, do tell us.

We might just use it (and credit you).

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PRINT

Print [18–141] Client Balloon Brigade Agency Arcana Academy, Los Angeles Creative Direction Shane Hutton, Lee Walters

Lürzer’s Archive

Art Direction Lee Walters Copywriter Shane Hutton Illustrator Midjourney

Vol 2/2023

16–17

AUDIO + VIDEO

BACK MARKET Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Innocean Worldwide, Berlin Creative Direction Gabriel Mattar, Ricardo Wolff, Pedro Lourenco

Art Direction Stefano De Luccia, José Gomes Copywriter Pedro Lourenco Photographer Minji Park

SAMSUNG ELECTRONICS Campaign

Agency Leo Burnett Tailor Made, São Paulo Creative Direction Bruno Godinho, Lígia Mendes, Alessandra Sadock

See more of the campaign at luerzersarchive.com

Vol 2/2023

Art Direction Matheus Valery Copywriter Vitor Zillo, Cássio Guiot Photographer Gustavo Zylbersztajn

18–19

AUTOMOTIVE

VW VOLKSWAGEN Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Leo Burnett Tailor Made, São Paulo Creative Direction Bruno Godinho, Lígia Mendes, Alessandra Sadock

Art Direction Matheus Valery Copywriter Vitor Zillo, Cássio Guiot Photographer Gustavo Zylbersztajn

MINI COLOMBIA Mini Electric campaign

Agency MullenLowe SSP3, Bogotá Creative Direction Jaime Duque Art Direction Jaime Duque Copywriter Jaime Duque, Eduardo Vargas

See more of the campaign at luerzersarchive.com

Vol 2/2023

20–21

AUTOMOTIVE

CITROËN Campaign

Lürzer’s Archive

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Agency VMLY&R, Lima Creative Direction Jefferson Cortavarria, Miguel Estela Art Direction Jean Navarro Copywriter Kimberlie Fernández Digital Artist Jorge Albornoz

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

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AUTOMOTIVE

MINI COLOMBIA Campaign Newspaper article headline: The negative effect of the transport sector on environmental pollution.

Lürzer’s Archive

Agency MullenLowe SSP3, Bogotá Creative Direction Jaime Duque Art Direction Jaime Duque Copywriter Eduardo Vargas Typographer Juan Moncada

CITROËN Campaign

Agency Mullenlowe Delta, Guayaquil, Ecuador Creative Direction Andre Pedroso, Eduardo Chiriboga, Marco Tapia

Vol 2/2023

Art Direction Daniel Mera Copywriter Nicolas Prado, Isaac López

26–27

AUTOMOTIVE

BMW MOTORRAD Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency MullenLowe SSP3, Bogotá Creative Direction Jaime Duque Art Direction Jaime Duque Copywriter Jaime Duque, Eduardo Vargas

NISSAN Campaign

Agency TBWA\G1, Paris Creative Direction Philippe Rachel, Carl Harborg Art Direction Javier Pizarro Copywriter Italo Canepa Photographer Jake Osborne

Vol 2/2023

28–29

BANKING, INSURANCES

CLARO Campaign

Lürzer’s Archive

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Agency BBDO, Guayaquil, Ecuador Creative Direction Carlos Vergara, Ernesto Ravelo Art Direction Carlos Villacis

Copywriter Paul Morales Photographer Carlos Villacis, Ernesto Ravelo

LLOYDS BANK Campaign

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Agency adam&eveDDB, London

Vol 2/2023

32–33

BEVERAGES, ALCOHOLIC

CORONA Campaign

Lürzer’s Archive

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Agency David, Bogotá Art Direction Camilo Jimenez, Julián Olivares, Izmael Crespo Copywriter Camila Ordóñez Bozzi

MEURON Campaign

Agency Meaning, Kobe, Japan Creative Direction Kohei Morikami Art Direction Takeshi Fujimoto

Vol 2/2023

Photographer Koji Kuruma Typographer Takeshi Fujimoto Digital Artist Takeshi Fujimoto

34–35

BEVERAGES, ALCOHOLIC

GUINNESS IRELAND Campaign

Lürzer’s Archive

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Agency Abbott Mead Vickers (AMV) BBDO, London Creative Direction Andre Sallowicz Photographer Greg White

BEVERAGES, NON-ALCOHOLIC

STARBUCKS Campaign

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

Vol 2/2023

Copywriter Alejandro Sarmiento Illustrator Fabian Fernandez “Faco”

36–37

BEVERAGES, NON-ALCOHOLIC

STARBUCKS Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

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

Copywriter Antonio Silva Illustrator Fabian Fernandez “Faco” Digital Artist Fabian Fernandez “Faco”

BOON COFFEE STORES Campaign

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

See more of the campaign at luerzersarchive.com

Vol 2/2023

Rolando Ruiz, Madhruth Zaman Copywriter Ritabrata Saha Photographer José Antonio Bernat Bacete

38–39

BEVERAGES, NON-ALCOHOLIC

AMMAN TEA Campaign Top: Food pyramid of an heir to the crown after discovering his brother decided to write a book about the royal family.

Bottom: Food pyramid of a community manager after the world’s richest man buys the social network she works at.

Strapline: Food calms your anxiety – we calm the consequences.

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency BBDO, Santiago de Chile Creative Direction Francisco Cavada, Sergio Araya, Alvaro Becker Art Direction Flavio Cabezas, Pablo Orozco, Javiera Arriola

Copywriter Francisco Barrena, Ana Fernández Photographer Estudio Como Digital Artist Pedro Slaibe

ALQUERIA Campaign

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

See more of the campaign at luerzersarchive.com

Vol 2/2023

Copywriter Camilo Garzon Illustrator Charles Andara Digital Artist Oscar Muñoz, Charles Andara

40–41

BEVERAGES, NON-ALCOHOLIC

TETLEY TEA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency 303 MullenLowe, The Rocks, Sydney, Australia Creative Direction Bart Pawlak Art Direction Steve Lorimer Copywriter Steve Straw

COSMETICS

VASELINE Campaign

Agency Ogilvy & Mather, Singapore

See more of the campaign at luerzersarchive.com

Vol 2/2023

42–43

COSMETICS

Lürzer’s Archive

PROCTER & GAMBLE Campaign

Agency Leo Burnett, Madrid Creative Direction Juan Frias, Carlos Mañas Art Direction Greta Milans del Bosch, Henrique Leite, Laura Barbeito Copywriter Manolo Catalán

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Vol 2/2023

44–45

FASHION

VANS – HOUSE OF VANS Campaign

Lürzer’s Archive

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Agency Havas HOY, Mexico City Creative Direction Jairo Lezaca Art Direction Daniel Ortíz Sada Copywriter Jairo Lezaca Digital Artist Kristian Natalicchio

FOOD

BURGER KING GLOBAL Campaign

Agency David, Madrid Creative Direction David Krueger, Pedro Sattin, Sebastien Rouviere Art Direction Pedro Sattin

Vol 2/2023

Copywriter David Krueger, Sebastien Rouviere Photographer Nixon Freire

46–47

FOOD

Lürzer’s Archive

BIG PONS Campaign

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

Copywriter Nacho Pedemonte, Soledad Ezratty Photographer Carolina Menises

HEINZ KETCHUP Campaign

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

See more of the campaign at luerzersarchive.com

Vol 2/2023

Copywriter Marcelo Zylberberg, Anant Kurup, Adham Abdullah Digital Artist Studio Nuts

48–49

FOOD

MCDONALD’S COLOMBIA Campaign

Lürzer’s Archive

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Agency DDB Colombia, Bogotá Creative Direction Juan Felipe Jaimes, Juan Carlos Chaves, Diego Tamayo

Art Direction Gustavo Victorino, Diego López, Miguel Van Bommel Copywriter Antonio Lopez, María Constanza Santacruz

KFC Campaign

See more of the campaign at luerzersarchive.com

Agency Mass Digital, Bogotá Creative Direction David Patiño Art Direction David Patiño Copywriter Josué Núñez Photographer Galo Naranjo

Vol 2/2023

50–51

FOOD

Lürzer’s Archive

POT NOODLE Campaign

Agency adam&eveDDB, London Creative Direction Mark Shanley Art Direction Andy Clough Copywriter Richard McGrann Photographer Frederick Paxton

See more of the campaign at luerzersarchive.com

Vol 2/2023

52–53

FOOD

HEINZ KETCHUP Campaign

Lürzer’s Archive

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Agency GUT, Buenos Aires Creative Direction Juan Pablo Lufrano, Matias Lafalla, Ramiro Gamallo Art Direction Joe Almeida, Nicolás Feldman

Copywriter Gonzalo Díaz, Juan Marzari Digital Artist Diego Salas

HEINZ KETCHUP Campaign

Agency Rethink, Montreal Creative Direction Aaron Starkman, Mike Dubrick, Daniel Lobatón Morey Art Direction Skye Deluz

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Vol 2/2023

Copywriter Jacquelyn Parent, Xavier Blais, Nicolas Dubois Photographer Ale Burset

54–55

FOOD

Lürzer’s Archive

DARBO Campaign for D’arbo brand honey.

Agency Demner, Merlicek & Bergmann / DMB., Vienna Creative Direction Daniela Sobitschka, Anna Repitsch

Art Direction Martin Dorn Digital Artist Mladen Penev, Christo Penev, Daniel Poschinger

MCDONALD’S SWITZERLAND Campaign

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Agency TBWA, Zurich Creative Direction Tizian Walti, Martin Winther, Manuel Wenzel Art Direction Mark Levay

Vol 2/2023

56–57

FOOD

HILTL VEGETARIAN RESTAURANT, ZURICH Campaign

Lürzer’s Archive

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

BURGER KING Campaign

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Agency David, New York Creative Direction Linus Oura Photographer Alex Takaki

Vol 2/2023

58–59

FOOD

DOMINO’S PIZZA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency MullenLowe SSP3, Bogotá Creative Direction Carlos Sánchez, Jonathan Quimbay, Diego Morales

Art Direction Carlos Sánchez, Jessica Quintero Copywriter Diego Morales, Felipe Legarda

POPEYES CHICKEN Campaign

Agency Change, Paris Creative Direction Damien Guiol, Samy Benama Art Direction

Vol 2/2023

Damien Guiol Copywriter Samy Benama Photographer Ale Burset

60–61

FOOD

SUSHI MARKET Campaign

Lürzer’s Archive

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Agency Creamos, Medellìn, Colombia Creative Direction Jose Montoya E Art Direction Luis García, Lina Garzón

Copywriter Jose Montoya E Illustrator Lina Garzón

SUSHI MARKET Campaign

Agency Creamos, Medellìn, Colombia Creative Direction Jose Montoya E Art Direction Victor Jaramillo, Lina Garzón

Vol 2/2023

Copywriter Jose Montoya E Illustrator Lina Garzón, Victor Jaramillo

62–63

FOOD

Lürzer’s Archive

BUTTERKIST Campaign

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

Copywriter Phillip Meyler Typographer Pete Mould Digital Artist Richard Green

HOUSE + GARDEN

OMO Campaign

Agency MullenLowe SSP3, Bogotá Creative Direction Guillermo Siachoque, Jorge Eliécer Pinto

See more of the campaign at luerzersarchive.com

Vol 2/2023

Art Direction Mario Mendoza, Juanita Vergara Cuellar Copywriter Sebastian Tellez, Sara Paz Photographer Martin Köhler

64–65

HOUSE + GARDEN

B&Q Campaign

Lürzer’s Archive

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Agency Uncommon Creative Studio, London Photographer James Day

EL LAGAR Campaign for one of the largest hardware stores in Costa Rica.

Agency Garnier BBDO, San José Creative Direction Alan Carmona, Chepe Antillón Art Direction Diego Solis

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Vol 2/2023

Copywriter Jordan Ramirez, Javier Venegas Illustrator Axel Arias Digital Artist Axel Arias

66–67

HOUSE + GARDEN

BASF Campaign

Lürzer’s Archive

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Agency VMLY&R, Richmond Creative Direction Kolby Osborne Digital Artist Aliceblue

EINHELL Campaign

Agency Different, Milan Creative Direction Francesco Guerrera Art Direction Roberto Ferrario, Davide Stelitano

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Vol 2/2023

Copywriter Massimo Del Monaco Illustrator Roberto Ferrario, Davide Stelitano

68–69

HOUSE + GARDEN

SMOL Campaign

Lürzer’s Archive

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Agency Mother, London

HORNBACH Campaign for the gardening section at the Hornbach chain of DIY stores.

Top left: Stinging nettles are weeds. And also fertilizer, tea, and superfood. – Top right: In the long run, the only remedy against weeds is taking a different perspective. – Bottom left: Plants plant themselves. Which is why they have that name.

Bottom right: Perhaps your lawn really wants to be a meadow. – Pay-off: Just let nature do its thing.

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Agency Heimat, Berlin Creative Direction Guido Heffels, Christofer Kümmerer, Luis Jähner Art Direction Christofer Kümmerer, Fabian Lange

Vol 2/2023

Copywriter Luis Jähner, Lena Möller Photographer Max Slobodda

70–71

HOUSE + GARDEN

DELTA Q Campaign

Lürzer’s Archive

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Agency Label, Lisbon Creative Direction Nuno Rodrigues Art Direction Cristiana Mamede

Copywriter Augusto Pardal, Nuno Rodrigues Digital Artist João Pina, André Portugal

COLOURTREND – GENERAL PAINT GROUP Campaign

Agency Boys and Girls, Dublin Creative Direction Laurence O’Byrne Art Direction Bairbre McGlade

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Vol 2/2023

Copywriter Niamh Ryan Photographer Roman De Giuli Typographer Barry Smith

72–73

MISCELLANEOUS

EPIC THE IRISH EMIGRATION MUSEUM Campaign

Lürzer’s Archive

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Agency The Public House, Dublin Creative Direction Colin Hart, Paddy O’Mahoney Art Direction Delphine Perret

Copywriter Karl Graham, Patrick Dunne Digital Artist Simon Williams

MUSEUM DEL PALACIO DE BELLAS ARTES Campaign

Agency Recreo, Mexico City Creative Direction Sebastian Díaz Art Direction Ricardo Kraken García Copywriter Sebastian Díaz Illustrator Ricardo Kraken García

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Vol 2/2023

74–75

MISCELLANEOUS

SMITH’S CASTLE Campaign

Lürzer’s Archive

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Agency Courage, Providence Creative Direction Larry Bowdish, Jonathan Plazonja Art Direction Larry Bowdish Copywriter Jonathan Plazonja

Photographer Arthur Bowdish Typographer Larry Bowdish Digital Artist Larry Bowdish

OFFICE EQUIPMENT

LINC Campaign for the Deli Highlighter.

Agency Wunderman Thompson, Kolkata, India Creative Direction Senthil Kumar, Arjun Mukherjee

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Vol 2/2023

Art Direction Subhrakanti Mandal Copywriter Arjun Mukherjee Illustrator Subhrakanti Mandal

Detail:

76–77

PETFOOD

MISU Campaign

Lürzer’s Archive

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

Copywriter Lauriano Grisotto Photographer Eduardo “Lalo” Párraga Digital Artist Daniel Mendez

PURINA DOG CHOW LATAM Campaign

Agency Leo Burnett, Chicago Creative Direction Brian Shembeda, Eduardo Tua Art Direction Paco Fernandez, Juan Carlos Montes

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Vol 2/2023

Copywriter Eduardo Tua, Damian Isaak Photographer Sisso & Chouela

78–79

PETFOOD

MARS PETCARE Campaign

Lürzer’s Archive

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Agency Abbott Mead Vickers (AMV) BBDO, London Creative Direction Andre Sallowicz, Polina Zabrodskaya

Art Direction Rachel Tweedy Copywriter Jamie Chang Photographer Sam Gregg

PHARMACEUTICALS + OTC

PRUDENCE CONDOMS Campaign

Agency Palm Era, Buenos Aires Creative Direction Porto Ignacio, Santiago Álvarez Art Direction Demian Veleda, David Namer

Vol 2/2023

Copywriter Demian Veleda, David Namer Photographer Lucas Belintende Digital Artist Lucas Belintende

80–81

PHARMACEUTICALS + OTC

BUSCOPAN, SANOFI Campaign Hanna’s Pierre Luné mini dress and Wauter purse feel comfortable enough to celebrate a goal, but this time she isn’t in the mood. Her usual IBS has appeared, … She’s aware this discomfort could start to be eased in about 15 minutes, once she’s able to get some Buscopan® IBS Relief right after this session …

Lürzer’s Archive

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Agency MRM Spain, Madrid Creative Direction Félix del Valle, Guillermo Santaisabel, Alejandro Peré

Art Direction Sergio García, Belén Bardón, Pablo Camarero Copywriter Guillermo Santaisabel, Alejandro Peré, Miguel Prieto

VIATRIS Campaign

Agency VMLY&R, London Creative Direction Joyce Christopher Illustrator Hudson Christie

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Vol 2/2023

82–83

PHARMACEUTICALS + OTC

HANX Campaign Vaginismus can make penetrative sex painful or even impossible. This Valentine’s Day, let’s talk about it.

Lürzer’s Archive

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Agency The Leith Agency, Edinburgh Creative Direction John McPartland Art Direction Debbie Morgan Copywriter Mairi Wilson Photographer Louise Kendall

ATLANTICK REPELLENT PRODUCTS Campaign

Agency Ray Agency, Calgary, Canada Creative Direction Jenny Smith, Jeff McLean, Terri Roberts

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Vol 2/2023

Art Direction Jeff McLean Copywriter Sarah Park, Terri Roberts Photographer Michele Ramberg

84–85

PHOTO

ROBERT CAPA CONTEMPORARY PHOTOGRAPHY CENTER Campaign

Lürzer’s Archive

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Agency Innocean, Berlin Creative Direction Shelley Lui, Ricardo Wolff, Gabriel Mattar

Art Direction Saymon Souza Medeiros Copywriter Nicolás Montanaro Digital Artist Carlos Suarez

PUBLIC EVENTS

CINÉMA DU PARC Campaign

Agency Les Evades, Montreal Art Direction Martin Dupuis Illustrator Cristian Robles

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Vol 2/2023

86–87

PUBLIC EVENTS

FATHER FRED FOUNDATION Campaign

Lürzer’s Archive

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Agency PB&J, Traverse City, Michigan Creative Direction Karl Bastian Art Direction James Howe Copywriter Karl Bastian

CORFERIAS Campaign

Agency Grey Colombia, Bogotá Creative Direction Juan Jose Posada, Oscar Muñoz, Juan Cárdenas

See more of the campaign at luerzersarchive.com

Vol 2/2023

Art Direction Juan Jose Posada, Oscar Muñoz, Juan David Lucero Copywriter Camilo Garzon Illustrator Carlos Duque

88–89

PUBLISHERS, MEDIA

CNN Campaign Top: Visit to the Diamond Mine, 3/26/2023 at 4:34 pm.

Answer: fake.

Bottom: Nuclear Weapons Depot, 1/2/2023 at 6:06 am.

Answer: real.

Lürzer’s Archive

Agency AlmapBBDO, São Paulo Creative Direction Marco Gianelli, Rafael Gil Art Direction Mateus Palermo

Top: US Federal Courthouse, 4/4/2019 at 4:34 pm.

Answer: real.

Bottom: LGBTQIA+ Parade, 6/1/2022 at 11:34 am.

Answer: fake.

See more of the campaign at luerzersarchive.com

Vol 2/2023

90–91

PUBLISHERS, MEDIA

SPOTIFY Campaign

Lürzer’s Archive

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Agency media.monks, Bogotá Creative Direction Cesar Castaño, David Correa Art Direction David Correa, David Gomez, Andrés Torres

Copywriter Cesar Castaño, Camilo Monsalve, Jaime Andrés Tovar Illustrator Juan Huertas

CNN Campaign

Agency AlmapBBDO, São Paulo Art Direction Rafael Gil

Be careful about who your source is.

Listen to our podcasts now.

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Vol 2/2023

92–93

RETAILERS

DENNER Campaign

Lürzer’s Archive

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Agency thjnk, Zurich Creative Direction Alexander Jaggy, Pablo Schencke Art Direction Lukas Frischknecht, Josephine Jeanguenin

Copywriter Lukas Amgwerd Digital Artist Carioca

ZALANDO Campaign for a second-hand clothing range from online fashion retailer Zalando.

The artworks were made from thousands of pre-owned clothes, all of which were put back into circulation afterwards.

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Agency Demner, Merlicek & Bergmann / DMB., Vienna Creative Direction Sebastian Kaufmann Art Direction Mario Goldsteiner, Viktoria Mannsberger

Vol 2/2023

Copywriter Paul Ballot, Maximilian Peleska, Anna Repitsch Illustrator Maximilian Mannsberger, Julia Nagl

94–95

RETAILERS

IKEA Campaign

Lürzer’s Archive

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Agency David, Madrid, INGO, Hamburg Creative Direction Tobias Ahrens, Saulo Rocha, Pancho Cassis Art Direction Nicolas Lopez, Fernando Montero, Gonzalo Arica

Copywriter David Krueger, Ricky Solano, Tomás O’Gorman Photographer Alberto Escudero Digital Artist Ricardo Moreira

IKEA Campaign

Agency The Newtons Laboratory, Athens Creative Direction Dimitris Vikelis Art Direction Alex Brouhard

See more of the campaign at luerzersarchive.com

Vol 2/2023

Copywriter Eva Marou, Vangelis Garofallou Photographer Marios Theologis Digital Artist Dimitris Vikelis

96–97

RETAILERS

IKEA Campaign

Lürzer’s Archive

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Agency INGO, Hamburg Creative Direction Tobias Ahrens, Tomás O’Gorman Art Direction Nicolas Lopez, Kalle Garmark, Andrea López-Boado Copywriter

MALL GALLERIA Campaign When she wants nothing, you can find it at Mall Galleria.

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Agency Together, Sofia Creative Direction Nikolay Stoynov Art Direction Sofroni Milev

Vol 2/2023

98–99

SERVICES

ECOMAIDS Campaign for a home cleaning service.

Our eco-friendly cleaning approach includes a 64-point checklist.

Left: Vacuuming and dusting, of course, figure prominently.

Right: Right down to the last nook, cranny and crevice.

Lürzer’s Archive

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Agency Hey Let’s Go!, Boston Creative Direction Mike Shaughnessy Copywriter Tim Cawley Photographer Danny Ebersole

BELLA FORMA Campaign

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

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Vol 2/2023

Copywriter Victor William Mendez Ugarte, Mani Cáceres Méndez, Margo Torrico Luján Digital Artist Daniela Serrate, Adrian Méndez Akamine, Pierina Bibolotti Sevilla

100–101

SERVICES

DOZONO RYOICHI STUDIO Campaign

Lürzer’s Archive

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

Photographer Archive Li Illustrator Gang Li Typographer Gang Li Digital Artist Gang Li

BODYLASER Campaign

Agency Made Group, Rio de Janeiro Creative Direction Luís Claudio Salvestroni, Álvarò Rodrigues Art Direction Marcos Mendes Tanaka, Sidney Santana

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Vol 2/2023

Copywriter Andre Nunes Bueno Illustrator Victor Portella Typographer Marcos Mendes Tanaka Digital Artist Marc Recco

102–103

SERVICES

I LIKE TO MOVE IT REMOVALS Campaign

Lürzer’s Archive

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Agency Engine Group, Brisbane, Australia Creative Direction Art Direction Mike Fritz Copywriter Mark Smith

Photographer Liam Marsden, Alex Buckingham Illustrator Danny Teran

WELTI-FURRER Campaign for a fine art transport service.

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

See more of the campaign at luerzersarchive.com

Vol 2/2023

104–105

SERVICES

TELEFÓNICA MOVISTAR Campaign

Lürzer’s Archive

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Agency Havas Worldwide, Santiago de Chile Creative Direction Joaquin Bascuñan, Fernando Condeza Art Direction Claudio Campisto

Copywriter Jorge Altamirano, Fabian Cespedes, Ricardo Vera Photographer Claudio Campisto

STUDIO MINT Campaign for a visual studio.

See more of the campaign at luerzersarchive.com

Agency We Are More, Partille, Sweden Art Direction Björn Eklind Copywriter Johan Nerman Digital Artist Mathias Lövström

Vol 2/2023

106–107

SERVICES

KOHLER Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Publicis Activ, Bordeaux, France Art Direction Olivier Porte Copywriter Olivier Porte Digital Artist Steven Camus

ORINOCO Campaign

Agency FCBFRST, Bogotá Creative Direction Diego De Pedro, Jairo Rodríguez Art Direction Maria Paula Camacho Copywriter Diego De Pedro

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Vol 2/2023

108–109

SERVICES

STUTTGARTER STRASSENBAHN AG Guerilla marketing for the city of Stuttgart’s public transport.

Park your money somewhere else.

Lürzer’s Archive

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

CZECH RAILWAYS Campaign

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Agency Havas Worldwide, Prague Creative Direction Petr Cech, Jakub Kolarik Art Direction Pavel Slovacek Copywriter Zdenek Buchtela

Vol 2/2023

110–111

SOCIAL + ENVIRONMENT

Lürzer’s Archive

INTER RAPIDISIMO Campaign

Agency BRAVE, Bogotá Creative Direction Edwin Romero Art Direction William Martinez Copywriter Daniel Garzón

See more of the campaign at luerzersarchive.com

Photographer Luis Felipe Correal Anchique, Camilo Salazar Illustrator Jonathan Bustos Melendez, Julián David Getzamha Peña, Gabriel Eduardo Gonzalez

Vol 2/2023

Digital Artist Christian Camilo Fajardo Hernández, Jefersson Andrés Bautista Vega, Javier Alexander Pachón Santana

112–113

SOCIAL + ENVIRONMENT

SIMA ENVIRONMENTAL FUND Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Gallegos United, Los Angeles Creative Direction Cristian Costa, Iu la Lueta, Pepe Aguilar

Art Direction Cristian Costa, Margarita Cardenas Copywriter Alejandro Estrada

BALLOON BRIGADE Campaign Balloons are the number one killer of seabirds worldwide. Their impact on dolphins, whales, and turtles is also heartbreaking. The tagline “Always catch. Never release.” encourages people to practice new behaviors so that we can celebrate in ways that are safer for the marine life we all love.

See more of the campaign at luerzersarchive.com

Agency Arcana Academy, Los Angeles Creative Direction Shane Hutton, Lee Walters

Vol 2/2023

Art Direction Lee Walters Copywriter Shane Hutton Illustrator Midjourney

114–115

SOCIAL + ENVIRONMENT

FRIDAYS FOR FUTURE Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Fred & Farid, Los Angeles Art Direction Radouane Guissi Copywriter Radouane Guissi Digital Artist Benjamin Benichou

BRADY UNITED AGAINST GUN VIOLENCE Campaign

Agency BCW Global, New York Creative Direction Fede Garcia, Diego Bertagni, Kelsey Webster

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Vol 2/2023

Art Direction Carolina Dangelo Copywriter Clark Davis Photographer Vincent Dixon

116–117

SOCIAL + ENVIRONMENT

UNIMED GOIÂNIA Campaign

Lürzer’s Archive

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Agency AMP Propaganda, Aparecida de Goiânia, Brazil Creative Direction Antonio Folha, Rafael Escobar, Rodrigo Almeida Art Direction Bruno Sousa

Copywriter Eduardo Pandolfo Photographer Bruno Sousa Illustrator Bruno Sousa Typographer Bruno Sousa Digital Artist Guilherme Duarte

FEED ONTARIO Campaign

See more of the campaign at luerzersarchive.com

Agency Intent, Toronto Photographer Daniel Ehrenworth Digital Artist Mark Tyler

Vol 2/2023

118–119

SOCIAL + ENVIRONMENT

ANAIS ASSOCIATION Campaign

Lürzer’s Archive

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Agency Cheil Centrade, Bucharest Creative Direction Mihai Gongu Art Direction Alina Zaharescu

Copywriter Miruna Potop Illustrator Alina Zaharescu Digital Artist Iulia Damaroiu

AMIGOS FOR KIDS Campaign

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Agency Republica Havas, Miami Creative Direction Tony Waissmann, Melissa Smock, Ali Armas Photographer Napolitano Photo Digital Artist Taylor James

Vol 2/2023

120–121

SOCIAL + ENVIRONMENT

Lürzer’s Archive

ANIMAL TV Campaign

Agency DM9, São Paulo Creative Direction Laura Esteves, Bruno Anibal, Nina Lucato Art Direction Diego Guerhardt, Caio Stucchi-Zucchi, Gustavo Souza

Copywriter Caique Llaguno, Pedro Rosadas, Ygor Silva Illustrator Rogério Puhl

DUREX Campaign

Agency Arco Publicidad, San Juan Creative Direction Jonathan Diaz Art Direction Eduardo Rosado, Edwin Abreu

See more of the campaign at luerzersarchive.com

Vol 2/2023

Copywriter Carlos Rodriguez Photographer Raymesh Cintrón

122–123

SOCIAL + ENVIRONMENT

THE COMPASSIONATE FRIENDS Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency The Raised Eyebrow Society, London Creative Direction Peter Cain Art Direction Dave Dye Copywriter Richard Russell Photographer Brank Jukic

UNFPA Campaign

Agency HOY by Havas, Caba, Argentina Creative Direction Hernan Damilano, Maria Luján Donaire Art Direction Damian Palopoli, Charlie Meza

See more of the campaign at luerzersarchive.com

Vol 2/2023

Copywriter Santiago Ledesma, Kike Raboy Digital Artist Leandro Frizzera

124–125

SOCIAL + ENVIRONMENT

EMMIE’S BOOKS Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency The Leith Agency, Edinburgh Creative Direction John McPartland Art Direction John McPartland Copywriter Chris Watson

EMMIE’S BOOKS Campaign

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

Providing escapism to children who need it.

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Vol 2/2023

126–127

SOCIAL + ENVIRONMENT

HEALTHY WOMEN Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency McCann Health, New York Creative Direction Tim Hawkey, Jorge Munoz Art Direction Aaron Alamo, Taya Subbotnikova

Copywriter Joan Wildermuth, James Tarzian Photographer Colin Hawkins Illustrator Renan Bulgari

PONY MALTA Campaign

Agency MullenLowe SSP3, Bogotá Creative Direction Andrés de la Hoz, Julian Guarin Barkach, Juan David Pardo

See more of the campaign at luerzersarchive.com

Vol 2/2023

Art Direction Guillermo Siachoque, Juan Camilo Parra Castiblanco, Ana Maria Velez Copywriter Diego Muñoz, Laura Daniela Rey, Sara Paz Bolaños Digital Artist Banana Ponch Studio

128–129

SOCIAL + ENVIRONMENT

Lürzer’s Archive

ANOREXIA AND BULIMIA QUEBEC Campaign

Agency Cossette, Toronto Creative Direction Richard RochetteVilleneuve Art Direction Nicolas Baillargeon Copywriter Nadine El-Whidi Photographer

EUROPEAN UNION Campaign

See more of the campaign at luerzersarchive.com

Agency Amén McCann, Montevideo Creative Direction Ignacio Vallejo Art Direction Mathias Gamarra Copywriter Carolina Gelfont

Vol 2/2023

130–131

SOCIAL + ENVIRONMENT

ALICORP Melanoma Awareness Campaign If you have a stain like this, we can also help you remove it.

Lürzer’s Archive

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

Copywriter Kevin Torres Photographer Alex Freundt Digital Artist Midas Art studio

ANMAR ONLUS Campaign

Agency Different, Milan Creative Direction Francesco Guerrera Art Direction Roberto Ferrario, Davide Stelitano

See more of the campaign at luerzersarchive.com

Vol 2/2023

Copywriter Massimo Del Monaco Illustrator Roberto Ferrario, Davide Stelitano

132–133

SOCIAL + ENVIRONMENT

TODAS GROUP Campaign

Lürzer’s Archive

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Agency Mediabrands Content Studio (MBCS), Madrid

LEASEPLAN GREECE Campaign

Agency Imba by Mediabrands, Athens Creative Direction Giannis Mpoutas, Xenia Sakellari, Nestoras Kechagias Art Direction Angeliki Velisarakou, Maria Thymi

Vol 2/2023

Copywriter Xenia Sakellari, Daphne Pangidi Digital Artist Michalis Lygkiaris

134–135

SOCIAL + ENVIRONMENT

AMNESTY INTERNATIONAL PERU Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Havas Group Peru, Lima Creative Direction Mauricio FernandezMaldonado, Moises Urrutia

Art Direction Moises Urrutia, Luis Rios Copywriter Juan Carlos Gallardo Vargas

TRAVEL + LEISURE

TUI Campaign

Agency Scholz & Friends, Berlin Creative Direction Max Messinger, Lars Ecker, Isabel Lapp

Art Direction Matthias Spaetgens, Jens-Petter Waernes, Michele Schmidt Photographer Roland Breitschuh

The most enjoyable way to explore the Azores.

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Vol 2/2023

136–137

TRAVEL + LEISURE

P&O FERRIES Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Publicis Poke, London Creative Direction Steve Paskin, Dave Monk Art Direction Rhys Hughes

Copywriter Nigel Roberts, Barret Helander Photographer Lulu Ash Digital Artist Prodigious

GOL LINHAS AÉREAS Campaign Avoid unpleasant company.

GOL premium economy with blocked middle seats.

New times on air, always.

Agency AlmapBBDO, São Paulo Creative Direction Luiz Sanches, Marco Giannelli Pernil Art Direction Rafael Gil Copywriter Bruno Pereira, Rodrigo Almeida

See more of the campaign at luerzersarchive.com

Vol 2/2023

138–139

TRAVEL + LEISURE

BRITISH AIRWAYS CITYFLYER Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Uncommon Creative Studio, London Photographer Emily Stein

VIAJES ÉXITO Orlando theme parks campaign.

Agency Sancho BBDO, Bogotá Creative Direction Andres Lancheros, Jose Ariel Hernández, Mario Lagos, Fernando Hernández, Camilo Torres

See more of the campaign at luerzersarchive.com

Vol 2/2023

Art Direction Fredy Beltran, Michael Hurtado, Nicolás Gaitan Copywriter Juan Pablo Ospina, Juan Sebastián Fuentes, Sebastián Tovar Photographer Pocho Giraldo Digital Artist Fredy Beltran

140–141

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

Film [144–151] Client Samsung Agency Mother, London Director Jake Dypka Production Agile Films Vol 2/2023

142–143

FILM

PORSCHE Taycan Arcade

VOLKSWAGEN Laundromat / Touareg Dry Cleaning

MERCEDES-BENZ International Women’s Day 2023 – Be one of many

To prove the handling and accuracy of the Porsche Taycan, two drivers in controlled conditions rally back and forth against a drone in what is revealed to be a giant game of arcade tennis. The ambitious stunt from DDB Group Melbourne acts as a fun demonstration of the engineering behind the Taycan.

While a canny older couple watches from their dry-cleaning business, several people struggle to emerge from tight parking spaces without sullying their clothes. This seems to work well for the couple, as every dirty clothes item means business for them. That is until the Volkswagen Touareg is revealed with remote guided parking assistance.

To mark International Women’s Day, Mercedes Benz shows what it means to be exceptional in the automotive industry. The spot pushes for equality in industry and for women to not be celebrated for being the only female in their field, but one of many.

Agency DDB, Melbourne Creative Direction Giles Watson, Psembi Kinstan Art Direction Becky Morriss

Copywriter Jake McLennan Director Jolyon Watkins Production AIRBAG

Agency DDB Voltage, Berlin Creative Direction Thomas Koch, Heitor Buchalla, Sascha Dudic

Art Direction Heitor Buchalla Director Kay Kienzler Production Film Deluxe

Director Fiona Jane Burgess Production Smuggler

SAMSUNG Flash Sucks

MILLER LITE The Good Shit

With the use of camera technology at our whim, it is easier than ever to capture special moments in life. Although these moments can become increasingly obscured by flash photography, Samsung aims to put a stop to that distraction with the introduction of new Light Boost technology.

In a coy deconstruction of yesteryear’s often chauvinistic beer campaigns, this film features Broad City’s Ilana Glazer listing everything wrong (or sh*t) with past advertising. As a rebellion to years of bikini-clad women in beer commercials, Glazer shows these distasteful works being used for something tasteful … as they are mulched into fertilizer for hops.

Agency Mother, London Director Jake Dypka Production Agile Films

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Agency Alma DDB, Miami Creative Direction Christian Liu, Jorge Murillo, Alvar Suñol

Art Direction Maia Swift, Vanessa Castaneda, Gloria Martinez Copywriter Martín De Ferrari, Raquel Chisholm, Luis Nunez

Director Pete Marquis Production Strike Anywhere

MCDONALD’S Food Truck Billboard

CADBURY Confuseing Controllers

BURGER KING We Give Up

In a canny mix of DOOH advertising and street food culture, McDonald’s Sweden has introduced the Food Truck Billboard. To promote their new fried chicken burger, customers scan the QR code on the billboard and the digital chef “prepares” their order by sending it to the nearest McDonald’s outlet.

In a campaign that may enrage parents the world over, this sneaky concept for Cadbury Fuse

by Ogilvy India and Wavemaker India involves hiding a video game remote in a book. While children may be looking extra studious, they are really playing their favorite game, courtesy of the ConFuseing Controller.

Agency Nord DDB, Oslo Creative Direction Petter Dixelius, Joel Ekstrand Art Direction Josefina Norén

Agency Ogilvy & Mather, Gurgaon, India Creative Direction Chinmay Raut, Akshay Seth Art Direction Chinmay Raut

With a sly tongue-in-cheek charm, Burger King’s new campaign by Bartle Bogle Hegarty acknowledges the public’s preference for the Chicken Royale (to the detriment of the beef Whopper). With slick production values, we see characters from different eras, between the 1960s and the 2020s, blatantly ignoring promotion for the Whopper to get their Chicken Royale fix.

Copywriter Fabian Luthander Director Mikael Marcimain Production B Reel Films

Copywriter Akshay Seth Director Siddharth Agnihotri Production Wavemaker

Agency Bartle Bogle Hegarty (BBH), London Creative Direction Helen Rhodes, Felipe Guimaraes Art Direction Jennifer Ashton

Copywriter Oliver Short Director The Sacred Egg Production Riff Raff

GUINNESS Make it a St. Patricks Day to Remember

STELLA ARTOIS Table Drop

AMBEV / AKQA Beck’s 70+

Taking a unique route of advocating for responsible drinking, this campaign shows animated pints of Guinness lip-syncing to the Bonnie Tyler hit “Holding Out For A Hero”. The campaign, featuring the singing pints, was released by AMV BBDO ahead of St. Patrick’s Day.

The latest spot for Stella Artois by Anomaly shows how the premium lager can bring people together with dramatic flair. As a woman sits at her dining table eating alone, the table suddenly drops through the floor to her neighbor’s apartment below. As the table keeps dropping into new apartments, bringing with it new friends, we see the neighbors unite and embrace the unexpected moments that Stella Artois can bring.

In a fun reversal of age restrictions for underage drinkers, AKQA partnered with Beck’s to create Beck’s 70+, a limited-edition beer made solely for the seventy and above age bracket.

Agency AMV BBDO, London Creative Direction Nadja Lossgott, Andre Sallowicz, Nicholas Hulley Art Direction Colin Jones, Scott Kelly, Sergio Takahata

Copywriter Phil Martin, Nellie Santee Director Scott Kelly Production Red Studios

Agency Anomaly, Toronto Creative Direction Dave Douglass, Neil Blewett Art Direction Naobie Noisette

Copywriter Neil Blewett, Mike Johnson Director Mark Zibert Production Scouts Honor Vol 2/2023

Agency AKQA, São Paulo Creative Direction Matías Menéndez, Rodrigo Barbosa Art Direction Marcos Lee, Luisa Gabaldi

Copywriter Leo Razera, Arlindo Christian Director R Enan Production Sicarios

144–145

FILM

ROBINSON DEPARTMENT STORE The Air Drummer

DISCO Law Better

Thai agency Wolf BKK brings a zany approach to this story about a girl who has a passion for drumming … despite the lack of an actual drum kit. Her mother, who watches her daughter air drumming with fervor, rushes out to the nearest department store. Her purchase proves you can’t always get what you want, but your mother will get you what you need.

DISCO, an AI-driven legal technology company, has bluntly asked law firms to “Law Better” by having Lady Justice herself address the message.

As she steps down from her plinth, Lady J exhorts the downtrodden workers to adapt to modern technology instead of using their old, ineffectual software.

Agency Wolf, Bangkok Creative Direction Nopharit Dusadeedumkoeng

Art Direction Kanyaporn Longprasert, Smita Tronglakkana Copywriter Yarinda Ketjumpol

Director Nawapol Thamrongrattanarit Production Happy Ending Film

Agency BigSmall, London Creative Direction Will Flack

Director Clay Weiner Production Biscuit

EASTPAK Built To Resist

DUBLIN SIMON COMMUNITY Unfair City

ALMUNAYES TEA The Sound of Tea

In supremely stylish fashion, this campaign for lifestyle brand Eastpak sees a group of young people on Mars-like terrain. With slick visuals, the film shows how the luggage and backpacking company can help you effortlessly travel to amazing locations.

This affecting film from BBDO Dublin for Irish homelessness charity Dublin Simon Community, tells the story of Justin Cannon. Justin’s former life on the streets is vividly recounted using watercolor animation created via AI.

During the season of Ramadan, there are restrictions to advertising food and drink (for obvious reasons). To bypass this, Kuwait agency Beattie + Dane cleverly meshed the sound of tea being slurped with various unrelated motions such as a car’s window wipers and a door being opened.

Agency Mutant, Antwerpen Creative Direction Odin Saillé Art Direction Usman Abdul

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Director Maky Margaridis, Tristan Feres Production BLEUNUIT

Agency Irish International BBDO, Dublin Creative Direction Robert Boyle, Shane O’Brien, Eoin Conlon

Art Direction Adriano Eliezer, Vinicius Bustamante Copywriter Eoin Conlon, Donal Gaughran Production Lobo Production

Agency Beattie+Dane, Kuwait Creative Direction Anes Al-Rayes

LACOSTE Impossible Encounters

MAGNUM #NotAvailableInTheMetaverse

HORNBACH Spring

For Lacoste’s ninetieth anniversary campaign, the global clothing brand shows how style can traverse cultures and continents. Through effective use of split screen, we see people from around the world acknowledge each other, from urban youths in São Paolo to a group of elderly golfers in Miami, highlighting the worldwide connections Lacoste can make.

As impressive as virtual reality can be, some realworld pleasures cannot be replicated, such as the enjoyment of a Magnum ice cream. The cyberpunkstyled campaign follows avatar Luna, who uses a VR headset to get away from her virtual dystopia.

Upon entering the real world, she finds that some delights are not available in the metaverse.

With visceral visuals of nature at work, DIY chain Hornbach has taken a unique approach to its Spring campaign … “let nature do the job”.

The campaign argues that leaving your garden to grow naturally, without interference, can bring its own beauty.

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

Copywriter Antoine Gauquelin, Symonne Torpy Director Yoni Lappin Production COLORS

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

Art Direction Yan Graller, Pedro Menzzini Copywriter Augusto Callegari Director Martin Werner Production Bacon CPH, Proppa

Agency Heimat, Berlin Creative Direction Guido Heffels, Christofer Kümmerer, Luis Jähner Art Direction Christofer Kümmerer, Fabian Lange

QROMA / VENCEDOR Celeste

BBC BITESIZE Unicorn / Don’t Learn Off Randoms

This touching story for Peruvian paint brand Vencedor follows a grandfather who moves in with his son after his wife passes away. Despite the attempts of his son and granddaughter to cheer him up, he remains stricken with grief.

The granddaughter notices that his late wife’s favorite color was blue. They paint his room a shade of light blue, which brings him to tears, displaying the emotional impact that colors can have on our lives.

To warn students ahead of exam season about the dangers of unverified information on the internet, this quirky campaign by BBC Creative takes the absurdity of misinformation to new levels. From the essentials of unicorn anatomy to iguana-based conspiracy theories, the campaign pushes students to use exam board-approved BBC Bitesize to revise.

Agency Circus Grey, Lima Creative Direction Gonzalo Aste Art Direction Miguel Ucañan

Copywriter Percy Rocha Director Emiliano Cruz Lopez Production Rebeca

Agency BBC Creative, Manchester Creative Direction Mark Williams, Rasmus Smith Bech

Art Direction Steven Lownes Copywriter Aron Sidhu

Vol 2/2023

Copywriter Luis Jähner, Lena Möller Director Hauke Hilberg Production Czar

Director Bine Bach Production BBC Creative

146–147

FILM

SWITCHBOARD LGBT + The Call

TEARFUND We Built the Town

NHS ENGLAND Ribbon Dancer

In this hard-hitting short film, designed to launch Switchboard LGBT+’s first free helpline, we see a young man struggling with his sexuality. With the help of the new service, we can see how empathy can be crucial for the queer community.

In a reaction to the often-patronizing way that charity appeal ads can appear, the villagers of Burundi make clear that they independently enhanced their community, without the help of external charities. This ties in with Christian relief agency Tearfund’s ethos of giving people the tools they need to improve their communities.

M&C Saatchi turns a serious subject (bowel cancer testing) into something both light-hearted and life-affirming. As a man in his fifties uses a toilet roll as a ribbon akin to a gymnast, he dances freely around his house and garden. The narration at the end of the film from NHS England reminds us that, if we receive a bowel cancer screening kit, to put it to use.

Agency Rankin Creative, London Creative Direction Jordan Rossi Art Direction Sooyoung Hahn

Copywriter Jordan Rossi Director Jordan Rossi

Agency Don’t Panic, London Creative Direction Rick Dodds Copywriter Rick Dodds

Director Dawitt NM Production Friend London

Agency M&C Saatchi, London Creative Direction Tom Kennedy Art Direction Ed East

Copywriter Amy Parkhill Director Si& Ad Production Academy Films

VANISH Me, My Autism and I

FREE NOW Free City

With direction from Oscar winner Tom Hooper, this sensitive film for Vanish follows Ash, a young student with autism. While Ash is talented at math and drawing, she can become overwhelmed by human contact. Clothes like her hoodie can become emotional lifelines. Vanish is dedicated to not only making clothes last longer but bringing awareness to autism.

London agency BMB utilizes zoetropestyle animation to portray an escape from repetitious monotony, as the female protagonist uses mobility platform FreeNow to achieve newfound freedom.

Agency Havas Worldwide, London Creative Direction Elliot Harris, Nick Rowland, Vicki Maguire

Agency BMB, London Creative Direction Will Marsden, Jordan Down Art Direction Joe Lovett

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Art Direction Sasha Midgley, Hollie Iles Copywriter Hollie Iles, Aly Marx-Blackwell

Director Tom Hooper Production Smuggler

Copywriter Jack Snell Director Dean Robinson Production Electric Studios

GERMAN ROAD SAFETY COUNCIL No Answer

TANGERINE Jumping Through Hoops

In a well-produced parody of modern thrillers, we see a father concerned about his daughter’s disappearance after she fails to answer her phone. With Hollywood-inspired cinematography, the climax of the film points less to big screen thrills and more to basic road safety.

In the dreary world of this film, jumping through hoops is not only a phrase but a way of life. After our protagonist monotonously jumps through metal hoops in his work and home life, he climbs a (literal) corporate ladder to more optimistic heights. This all works as a visual metaphor for the simplicity that Tangerine brings to digital banking.

Agency Scholz & Friends, Berlin

Director Francois Rousselet Production ANORAK Film

Agency Rethink, Vancouver Creative Direction Randy Stein, Aaron Starkman, Mike Dubrick

Art Direction Max Bingham Copywriter Brendan Scullion

Director Nick Ball Production OPC Production, MJZ

MACPAC This Is A Bit Precarious

RECYC-QUEBEC Summit

AMNESTY INTERNATIONAL Powered by AI

An unlucky group of hikers who dangle from a cliff’s edge seem unperturbed by their impending doom. However, they aren’t concerned about their deadly situation due to the strength and quality of their outdoor clothing, provided by New Zealand apparel brand Macpac.

In what appears to be a group of mountain climbers scaling a steep terrain, the reveal of the spot shows that the mountain is a large heap of accumulated waste. The climbers dump more trash on the mass when they reach the summit.

Using this powerful visual, Canadian agency Cossette and Recyc-Quebec wish to raise awareness for responsible consumption.

In a time where artificial intelligence is increasingly invading and enhancing our lives, we are reminded by this multimedia campaign that the only A.I. that counts for human rights development is Amnesty International.

Agency The Monkeys, Melbourne Creative Direction Hugh Gurney, Joe Sibley

Director Damien Shatford Production The Sweetshop

Agency Cossette, Montreal Creative Direction Richard Rochette-Villeneuve Art Direction Baillargeon Nicolas

Copywriter Sebastien Forget Director François Jaros Production 4Zero1

Vol 2/2023

Agency Bar Ogilvy, Lisbon Creative Direction José Carlos Bomtempo, Joao Amaral, Nuno Rica

Art Direction António Duarte Copywriter João Freitas Production Jungle Corner

148–149

FILM

DOVE The Cost of Beauty

POND’S MEN The Oily Warrior

HARRY’S Feel Good, Fellas

The pursuit of beauty and the harmful impact social media can have on young people is poignantly portrayed in this spot for Dove by Ogilvy. Through real archival footage of a young woman called Mary, we can see in real-time how the happiness and confidence of a child can potentially be damaged by what is viewed on social media.

In a light-hearted alternate history from Ogilvy Singapore of the origin of the “air kiss”, we are shown a cave-dwelling tribe who receive a ritual kiss on the cheek from their chieftain. When one exceptionally greasy soldier approaches, the chief pauses before offering an air kiss. The spot advises using Pond’s Men to properly moisturize, ensuring the approval of your clan leader.

During a meeting, a businessman becomes obsessed with his colleague’s precision in peeling a satsuma. He shares his fascination of the younger man’s fruit peeling skills with everyone he meets (including the local janitor).

This eccentric campaign compares the act to the smooth action that Harry’s shaving kits can offer.

Agency Ogilvy, London / Toronto / New York Creative Direction Daniel Fisher Art Direction Luke Woodard

Agency Ogilvy & Mather, Singapore Creative Direction Ria Ocampo, Sonali Ranjit, Rachel Chew

Copywriter Morgan Starr Director Henry Alex Rubin Production Smuggler

Copywriter Cessita Putri Director Ayappa Production Earlyman Film

Agency The Or, London Creative Direction Charlene Chandrasekaran, Dan Morris Art Direction Jacob Helström, Dylan Hartigan

Copywriter Tom Snell, Amy Fasey Director Max Sherman Production Somesuch

B&Q Prices. Nailed

EXIDE INDUSTRIES LIMITED The Moving Canvas

CERHOM Dickpic Diagnostic

In this stylish 60 second film for DIY chain B&Q, garden and home improvement items float suspended in the air. Each item is tied by a piece of string to the ground, symbolizing B&Q’s pledge to keep prices grounded this spring during the cost-of-living crisis.

To display the interconnection of India’s locales, Wunderman Thompson India has created “The Moving Canvas” for Indian automotive battery brand Exide. The use of the battery brings the people of India together and keeps the country moving, which the film shows with vibrant animation incorporating many indigenous art forms.

While an alarming percentage of young men fail to visit the doctor for testicular cancer check-ups, they seem to have no problem sharing nonconsensual intimate pictures to women on dating apps. To address this phenomenon, Dickpic Diagnostic uses fake online dating profiles to prevent testicular cancer and to highlight the danger of unsolicited naked pictures.

Agency Wunderman Thompson, Kolkata Creative Direction Senthil Kumar, Arjun Mukherjee Art Direction Sourish Mitra

Agency TBWA, Paris Creative Direction Benjamin Marchal, Faustin Claverie

Agency Uncommon Creative Studio, London Director The Glue Society

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Production Revolver, Biscuit filmworks

Copywriter Arjun Mukherjee Director Arjun Mukherjee Production Wunderman Thompson

Art Direction Lena Monceau, Julia Deshayes Production \Else

TINDER Going All The Way

ICELANDAIR Easy to stop, hard to leave

Opening with shots of sultry gazes, this spot for dating app Tinder shows a couple kissing so intensely that the room begins to transform as gravity is defied. The throes of their passion is so intense, the couple begins to levitate.

This fun and sensual campaign demonstrates how using the app can lead to mind-bending, out-of-this-world experiences (if you’re lucky).

While a layover may seem like an annoying but crucial part of travel, this charming spot for Icelandair by Pablo London shows that travelers may not want to continue to their final destination.

With stunning visuals of Iceland, the film shows Oliver, a passenger waiting for his next flight, go missing. A mix of local characters look for him, while Oliver is shown content to stay and savor the country’s natural beauty.

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

Art Direction Eleanor Rask Copywriter Trevor Joplin

Director Los Perez Production Biscuit Filmworks

Agency Pablo, London Creative Direction Dan Watts

Director Sam Hibbard Production Somesuch

DISASTER EMERGENCY COMMITTEE Never Alone

NIKE X CORTEZ Rules The World

WHO GIVES A CRAP Uncrap The World

Enhanced by a poignant rendition of You’ll Never Walk Alone, this spot from Don’t Panic and Stink Films marks the anniversary of the start of the war in Ukraine. Having the cast sing while looking into the camera in war-torn settings adds more weight to an already emotional song intimately tied to community.

Production company Division in collaboration with streetwear brand Corteiz dramatizes the frenzied reaction to the Nike Air Max 95 release.

The spot is presented in a breaking news story style, showing reporters from around the globe discussing the release (as well as star cameos like Manchester City player Phil Foden and R&B singer Jorja Smith).

Bringing levity to a serious matter, eco-friendly toilet paper brand Who Gives A Crap insists that our future rests upon our cheeks (literally). While the making of traditional toilet paper results in the destruction of one million trees every day, this campaign asserts that we should opt for environmentally friendly loo roll.

Agency Don’t Panic, London Creative Direction Rick Dodds

Director Rick Dodds, Leo Maguire Production Stink

Director Walid Labri Production Division

Vol 2/2023

Agency 72andSunny, Sydney Creative Direction Luke Martin, Genevieve Hoey Art Direction Alexandra Antinou

Copywriter Genevieve Hoey Director Stefan Hunt Production Exit Films

150–151

As Global Chief Creative Officer of Huge, Fura Johannesdottir has come a long way from her childhood summers spent on an Icelandic farm. After a degree in psychology, she moved to New York and studied at Parsons School of Design. From there she found her way into a starry and long career at R/GA, followed by a spell at Publicis Sapient before landing her current role. She opens up about her experience in the creative industry and the challenges of major change at the one-time digital pioneer that has transformed into a creative consultancy focused on unlocking growth for clients.

Lürzer’s Archive

Inside the Huge change

Vol 2/2023

152–153

INTERVIEW 1

1 nothing.tech is a startup with a suite of products for which Huge helped create digital identity, launch the website and launch the first product, new earphones.

2 For Tommy Hilfiger, Huge created the “Tommy Factory+Me” pop-up experience where customers can customize and style an outfit in-store, then film themselves and share on social.

3 Block/Space was an experiential activation at SXSW 2022 created

by Huge for Tezos, showing the in-crowd how blockchain is changing culture, from art to fashion, collectibles to digital identity.

2

3

L[A] So where are you from?

L[A] You have a farming background from Iceland, yes?

FJ I’m from Iceland. I moved to New York in 2003. I was there for 11 years and then I moved to Stockholm for two years and then I came to London, where I have been for about seven years.

FJ My grandparents used to ... I spent all of my summers at the farm. Then I bought the house a few years ago and I’m renovating it. I don’t own the farmland.

L[A] How many offices does Huge have?

L[A] That’s a nice project to have.

FJ In 2021, Huge moved to a fully-flexible working model and by 2022, we had closed most of our 13 physical offices, but we have talent working across North America, Europe, Asia, Australia, and Latin America.

FJ It’s amazing because it is physical labor but also with design elements.

L[A] What’s in Colombia? That seems to be an outlier.

FJ We’re doing it, me and my brothers and my parents, fixing the house.

FJ We have around 100 designers there and a lot of technologists as well.

L[A] Is it a good place to hire people?

FJ It is. It is great, filled with lots of exceptional talent. It used to be even better but more competitors have moved into the market, and then Apple and big tech. In the beginning, we had no competition.

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L[A] You do the physical stuff yourself?

L[A] As an adult, your longest period would have been in New York so far?

FJ I was in Iceland for a few years professionally. Only three years, I guess, working in this industry. Then 11 years in New York.

L[A] How big was R/GA when you joined?

Vol 1/2023

10-11

AI helped Huge develop a “visual manifestation” to launch Viva Magenta, the 2023 Pantone Color of the Year. Hundreds of images – celebrating an “unconventional color for unconventional times” – were generated for the multi-channel campaign.

FJ Probably around 300 people. We were just in one building.

Bob Greenberg was a fantastic leader. He’s very bold. Shortly after I joined, that building started to really fill up and we started to move around and open up different floors in other buildings. That was in 2005, a long time ago!

L[A] You were there for quite a while.

FJ I was there for a really long time. I was very lucky. No one would hire me today with what I had brought to the table. Because of that, I look at talent quite differently than many others. I don’t think it’s necessarily about being able to do the technical work because you can always learn that. What’s more important is that you are open to people who are not afraid of experimentation and exploration. I don’t know why they hired me. My portfolio was a mess.

L[A] How do you spot that in somebody?

FJ You may see with the talented, that they’re brave. They’re not afraid of doing something stupid. Sometimes they have good insights and rationale for why they made a decision that they did, even though the execution might have not been the right one. This bravery is something that I look for because all designers need to be conceptually brave and strong. Lately, designers, specifically digital

designers, have been taught the craft, the execution process.

There is a method to everything and there are best practices and they follow that like it’s a ritual. I want something a bit more spicy. l prefer people who surprise me in the interview. You hire the attitudes and you hire the mind and, obviously, they usually have some kind of execution skills. It’s specifically true for what I call ‘experience designers’. Perhaps it’s more difficult with visual design because that is such a fine craft.

It’s almost like the people I am looking for have a bit of foresight. The best people out there are people who are obsessed with the future, obsessed with what’s next and how that’s going to shape the next wave of creativity. There are three elements that are core to really strong creatives. It is obviously the craft itself, the root craft that they have, whatever that might be, and lastly, the writing. But the other thing is a business mindset. I don’t think that’s looked at often enough. For instance, are you someone who understands businesses and how they operate? At the end of the day, our job is to grow business, to find some kind of growth. If you don’t have that element, that’s a miss. And I want to see in creatives this drive for innovation, this fearless creativity that needs to be at the core. That’s often the missing piece.

L[A] So let’s bring the conversation to how you apply this thinking in the present. Tell us what you’re working on at Huge.

Vol 2/2023

154–155

INTERVIEW

FJ Huge has been on an enormous 18-month journey, transforming from a digital design agency into a creative consultancy. We have been turning every stone around. With this, we have shifted to a global structure and by the end of 2022, we had closed most of our 13 physical offices. We now operate on a fully-flexible workplace model which allows talent to thrive in a manner that best suits them.

With this, we saw the opportunity to open a Global Experience Headquarters, which will open in the Brooklyn Navy Yard in New York in 2023. We have also productized our company, meaning that we have methods to do things. Instead of reinventing the wheel every time, we have pre-packaged offerings that drive substantial and sustainable growth for clients, with data and insights at the forefront. We have just really rethought everything. Another example of this is my decision to merge the creative team into one team.

L[A] How many people are involved in this?

FJ Around 1,200 talents have been involved in the transformation.

Personally, it’s been one of the most difficult things I’ve ever done in my life. It’s really born out of realizing that agencies as they are today are not working and the model is broken. We have no time to innovate and creativity has been suffering as a result. We needed to reinvent ourselves to get out of this and we did this by adopting a productized approach, focusing less on the number of hours or the talent placed on a specific project, but rather the outcomes and tangible business results.

L[A] When you think of some of the best creative agencies, or highly creative companies in any sector, they are in a position where the clients know they want to work with the company for its outcome, not the price.

FJ Yes, it is the outcome that must be committed to. So why are we squeezing talent? As a client you need to know what the outcome must be and what it will cost, but not how many people you have working for you in the agency or time spent. You don’t need to dictate the team or handpick the talent because we will do that.

That’s our job. We are the experts. As a business, and in the creative industry, we need to get out of the grinder, to be honest.

L[A] How do you structure your creative offerings and team for this new way of working?

FJ I’ve super-simplified this into three areas. The first thing is around a new value proposition creation. That’s about helping companies, whether it’s connecting with a new audience or introducing new service offerings. We have to look at how we define this, package it up and build confidence with the client that they know that they’re going to get real business results.

The second thing is really around the new frontiers because the technical world is changing so fast right now. How are you going to take them into a world where they can consider the impact of generative AI and blockchain? I think NFT was the wrong conversation to have. Blockchain is not going away, nor will whatever the metaverse is going to be. Apple has now come out with its new headset … is their whole world about to change? It’s our job to help clients navigate new frontiers that can drive growth for the business.

Huge inspiration from Fura and team

And then we have to be able to help our clients adopt and change because the whole landscape might be shifting. Will they even need a website? Connected to this is the idea of creating stronger, more relevant connections between brands and customers. So, probably not a banner ad here or an out-of-home there. How do we connect to customers in this brand-new world? It will be a whole different way of doing it. Of course, this doesn’t mean that we’re not doing a whole lot of websites right now. [Laughs] L[A] How do you have a team that is able to deliver on this thinking?

FJ You must have magical people on the team to lead the way who already possess this way of thinking. I think people who are passionate about creativity, they’re always going to be curious.

At Huge, I’ve structured the team into core crafts: storytelling, experienced designers, which include those more of a systematic thinking, and business designers, who obsess about sustainability and sustainable design. Then the third craft is the visual design team, the pure craft which goes all the way from brand designers to interface designers and everything in between. That’s how I’ve set up the team. And I have this thing that we call the Edge Collective.

L[A] Is this a bit of an elite group?

FJ Not elite, but they’re the navigators. Their job is to inject thinking straight back into the teams. They sit in the design communities and their job is to be back and forth so that we may get people across the whole company to adopt and change. Everybody wants to be innovative and creative at the end of the day but sometimes they are stuck.

L[A] How? FJ Sometimes they’re stuck in production work. And production work is increasingly going to go away. So they need to pivot. This is a strategy to help them.

L[A] What’s going away?

FJ Banners, websites, and even phone applications. The creatives need to push harder now than they’ve ever done before because the day-to-day job is changing drastically. I think it’s actually a great time. I feel like we’re back in the year 2000 a little bit where everything is new and you have no idea how it’s going to turn out but you have to embrace it. That’s really the journey that we’re on, which is to redefine creativity around those areas. As I said, we’re still doing a lot of websites. We still do advertising. But how will this look like a year or so from now? Probably very different. Very different.

Regardless, at the end of the day, this transformation is very much client-centric and more broadly human-centric. By this, I mean that both the needs of businesses and their users are changing, and with that, it was critical for us as a company to adapt and provide new solutions that generate long-term growth.

Fura Johannesdottir is Global Chief Creative Officer of Huge.

Books to study

Podcasts to listen to

The New Designer: Rejecting Myths, Embracing Change

by Manuel Lima (MIT Press)

Pivot Podcast with tech journalist Kara Swisher and NYU Professor Scott Galloway

How to Use Graphic Design to Sell Things, Explain Things, Make Things Look Better, Make People Laugh, Make People Cry, and (Every Once in a While) Change the World

by Michael Bierut (Thames & Hudson) Dieter Rams – The Complete Works (Phaidon)

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Hard Fork from The New York Times

SOURCE. CREATIVE. TALENT. Food Photographers

FOUNDARTISTS.COM

ONLINE. IN PRINT. IN PERSON. Image: Kris Kirkham, for Delicious, Eye to Eye Media Rep: Style Department

Don't wait. Enter now.

Image: Jon Tyson | Unsplash

New categories

cresta-awards.com

Celebrating creativity 1993 – 2023

Lürzer’s Archive Special Report

BEAUTY+ FASHION Seriously Superficial

BEAUTY+FASHION SPECIAL

170,000 years young Our latest special report draws on the resources of our world-famous archive to explore the question: does fashion and beauty advertising play within different creative rules?

Many sources will tell you that the founding father of fashion is Charles Frederick Worth, an English dressmaker, who in 1858 established a salon in Paris to sell his haute couture. He is said to be the first to have sewn labels with his name into the dresses he made. His brand later expanded into producing ready-to-wear garments and also perfume. The template for integrated fashion and beauty brands and business empires was laid and now thrives globally today, even if House of Worth itself closed in the 1950s.

Many sources will tell you that the founding father of fashion is Charles Frederick Worth, an English dressmaker, who in 1858 established a salon in Paris to sell his haute couture.

Worth was far from alone in these business efforts but he was perhaps the very best at being a magnificent self-promoter. He knew the value of dressing the celebs 150 years before today’s red carpet showcase … Lillie Langtry, Nellie Melba and Sarah Bernhardt all wore Worth.

Let’s not lose sight of how our species has been wearing clothes of some kind since approximately 170,000 years ago. Given human nature, we might guess that soon after somebody thought to cover themselves in something, somebody else decided to do it a little differently. And so on. And then somebody else started specializing in whatever it was that helped keep us warm or cool, more protected or more attractive. And so we get to our Prada and Zara, even without Mr Worth’s myth-making.

As to the origins of the beauty industry, we can see evidence that Egyptians of all genders and none were definitely applying perfume and makeup about 6,000 years ago. That would have spawned a commodified and then quickly de-commodified industry, to feed the choices. As with now, ancient Egyptian social class was in part differentiated by the different quality of lavish pots that people could afford to have their makeup dispensed from.

And so, for all that highly advanced technologies may be applied to fashion and beauty today, at root there are fundamental forces at work. These industries and their marketing are sometimes criticized for being superficial and wasteful, and yet they can be seen as a mirror to the depths of our shallow souls. There are few things more intimately human and value-laden than fashion and beauty. These are industries that are immense and vital and their communications are pioneering and truth-telling, truth-revealing, for all their often absurdities.

The following pages feature some of the best from our archive, juxtaposing the works with suggested answers to the question of whether fashion and beauty advertising creativity dances to the same or different rules. On our final page, we summarize the evidence and pronounce the verdict.

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Fashion and beauty codes force creativity to its most essential way of communicating. Hardly any words, just visuals. A total synthesis expressed just in a picture, a color, a treatment.

At the same time, we always admire how certain brands evolve and push boundaries. For creatives, it’s a fantastic exercise and a complex one to get right. In addition to this, fashion and beauty brands are often playing to the codes of culture.

It’s like a treasure hunt of cultural savviness in which you need to be the first to find all the Easter eggs hidden in a brand’s narrative. Models, celebrities, location, backdrops, collaborators, media placement, it’s all part of curated culture.

Costanza Rossi Head of Art Grey, London

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1 L[A] 3/2011, Mugler in-house, Paris 2 L[A] 3/2014, FP7/DXB, Dubai 3 L[A] 6/2018, L’Associé, Paris 4 L[A] 3/2014, Peter Lippmann, Client: Louboutin 5 L[A] 6/2016, Duval Guillaume, Brussels, Publicis 133, Paris 6 200 Best Photographers 2016, Adam Balcerek 7 L[A] 3/2012, Sisley in-house, Treviso, Italy The issue the work originally appeared in is noted.

More information and full credits at luerzersarchive.com

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162–163

BEAUTY+FASHION SPECIAL

Like art, fashion is a form of self-expression. It is both expressive and intimate. A great campaign image needs the ability to seduce, allure and create desire for the audience. The best campaigns don’t require copy because they clearly tell you what you are looking at; yet like a memorable painting, it leaves space for imagination. No explanation, no clever copy needed. For example, the flowing movement of a silky fabric can make you feel a summer breeze against your body. The distinct color blocking of a garment will tease and teach your eyes to see in a new color pallet. Or a nononsense black and white image will communicate the pure form and luxurious quality of the garment.

The greatest images are purely emotional with the focus on how the image is to make you feel.

Pum Lefebure Co-Founder / Chief Creative Officer Design Army, Washington DC 1

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1 L[A] 4/2019, Hakuhodo, Tokyo 2 L[A] 2/2014, Christian Aslund 3 L[A] 3/2012, Fabrica, Treviso, Italy, 72andSunny, Amsterdam 4 L[A] 6/2016, Y&R, Dubai 5 L[A] 5/2014, Pepe Jeans London, in-house, Madrid Lürzer’s Archive

The issue the work originally appeared in is noted.

More information and full credits at luerzersarchive.com

BEREZA STUDIO

kubabereza.com

margo-photo.art

How to talk about beauty, knowing that the filters of various apps have caused effects such as toxic beauty, and a lot of anxiety in young people?

And on fashion, when the Patagonia brand established a new boundary between reality and perception. Between fast fashion vs global warming? And precisely because all this is happening now, fashion and beauty advertising needs to regain its space with concepts, not just form.

A bit like the pharma and health segment are doing.

But with content and great ideas. Not just stories. It’s not so much about what this segment is today, it’s how I see it in the coming years. An increasingly talented, inclusive, sexy segment, beautiful as life needs to be.

Flavio Waiteman CCO/Founder, Tech and Soul, São Paulo

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1 L[A] 6/2014, DDB, Hong Kong 2 L[A] 2/2021, VMLY&R, Dubai 3 L[A] 3/2020, Ogilvy & Mather, London & Toronto 4 L[A] 1/2019, ACNE, Stockholm 5 L[A] 3/2015, BBH, London 6 L[A] 3/2017, Shiseido, in-house, Tokyo 7 L[A] 5/2013, Lowe, Singapore 8 L[A] 6/2012, JWT, São Paulo 9 L[A] 1/2021, Ogilvy UK, London The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com Vol 2/2023

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BEAUTY+FASHION SPECIAL

In terms of fashion and beauty, I’d say the most powerful communication comes when the brand has a unique or provocative point of view on culture. Fashion and beauty are categories consumers intrinsically take more personally.

People have a deeper psychological connection to these categories as the products ultimately become expressions and extensions of whoever is wearing them. A clear, bold, revolutionary outlook or attitude is what separates the best fashion and beauty brands from the mediocre.

Diesel, Dove, Fenty, Kenzo and Billie are great examples of big ideas with such flawless execution, they masquerade as artful brand stories.

But make no mistake, strategically these ideas all make a clear statement about our society as a whole and how the brand challenges it.

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Julie Rutigliano Creative Director Pereira O’Dell, New York

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1 L[A] 6/2018, Shiseido in-house, Tokyo 2 L[A] 6/2014, Baz Luhrmann, Client: Chanel 3 L[A] 3/2019, & Co., Copenhagen, Client: Bianco Footwear 4 L[A] 3/2020, Publicis, Milan, Italy, Client: Diesel 5 L[A] 1/2014, Prada in-house, Milan, Italy The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com 4

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PATRIK JOHALL B & A R E P S ( E U RO P E ) ART DE PARTM E N T (U SA ) SU PE R STU DI O.CO M

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

photographer/director

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

What makes fashion and beauty advertising a special sector? Most advertising uses a concept to sell a product, but beauty and fashion advertising reverses the formula: it uses a product to sell a concept.

The former is ‘what do I want to have,’ and the latter is, ‘who do I want to be.’

But at the end of the day, it’s two sides of the same cliché: consumer culture is consumer culture, whether it smells like Chanel No5 or streams in brilliant 4K. Krista McCrimmon Creative Director Recreation, Dallas

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1 L[A] 3/2021, Prada, in-house, Milan, Italy 2 L[A] 4/2012, Roman Polanski, Client: Prada 3 L[A] 3/2016, adam&eveDDB, London, Client: H&M 4 L[A] 4/2015, BBDO, New York 5 L[A] 3/2015, Georgie Greville, Client: Rag and Bone 6 L[A] 2/2021, FCB Inferno, London 7 L[A] 6/2012, H&M in-house, Stockholm 8 L[A] 1/2013, Marcel, Paris 9 L[A] 2/2013, TBWA, Copenhagen The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

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Vol 2/2023

174–175

On average, we change our partner four times in our lives.

However, we remain loyal to our fashion or beauty brands for decades … You don’t buy a piece of beauty or fashion, you buy a lifestyle. An attitude, an image to identify with.

The creative idea is subsidiary, even the product.

It’s all about creating the world your customers most crave to be part of. Even if they never will. Brand experience, identification, consistency. Telling the same story in variations, over and over again.

Remember: fashion is the only product that has the power to turn its customers into advertisements themselves. Make sure that the right people are drawn to your image. Choose your target audience carefully, otherwise, they will choose you.

Antonia Bekiaris Creative Director Text at BOLD, Bern, Switzerland

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1 L[A] 4/2014, JWT, São Paulo 2 L[A] 2/2020, &Co. / NoA, Copenhagen 3 L[A] 2/2015, Dentsu, Tokyo 4 L[A] 4/2015, ProKraft Africa, Nairobi 5 L[A] 3/2020, Serviceplan China, Beijing 6 L[A] 4/2018, Huge, New York 7 L[A] 1/2018, Red Fuse Communications, Hong Kong 8 L[A] 3/2014, Y&R/RedFuse, New York 9 L[A] 2/2015, Boom Total, Belo Horizonte, Brazil The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com Lürzer’s Archive

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BEAUTY+FASHION SPECIAL

Creative ideas in beauty and fashion advertising differ by emphasizing aesthetics, emotion, trends, story-telling, aspiration, and visual transformation.

These ads focus on visually captivating imagery, evoking desire, and establishing personal identity.

They tap into emotions and create a connection by portraying desired lifestyles and self-expression.

Beauty and fashion advertising must stay current with trends to resonate with the target audience.

The use of storytelling techniques and influencer collaborations helps create an aspirational and relatable narrative. Ultimately, these creative ideas aim to inspire and transform, showcasing the product’s potential and conveying a sense of possibility.

Vicky Gitto CCO & Founder Gitto/Battaglia_22, Milan

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1 L[A] 5/2018, Raphael Cioffi, Client: Jean-Paul Gaultier 2 L[A] 2/2015, Robert Lussier, Mia Forsgren, Client: Dior 3 L[A] 3/2022, Gucci in-house, Milan 4 L[A] 1/2015, adam&eveDDB, London, Client: Mulberry 5 L[A] 3/2013, Art + Commerce, New York, Client: Prada The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com Lürzer’s Archive

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I don’t think they’re different.

Like every other category, some ideas are amazing, weird, wacky, or just so good that we all wish we’d done them.

And some just aren’t.

Claire Stapleton Creative Lead Copy The Works, Sydney

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1 L[A] 2/2016, Colle+McVoy, Minneapolis, Minnesota 2 L[A] TBWA RAAD, Dubai 3 L[A] 3/2013, Taku Satoh Design Office, Tokyo 4 L[A] 3/2020, En Garde, Graz, Austria 5 L[A] 5/2015, KesselsKramer, Amsterdam The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com Lürzer’s Archive

TOM BRANNIGAN

Represented by Process kim@processphotography.com www.processphotography.com

BEAUTY+FASHION SPECIAL

Advertising is about progress.

Fashion is renovation. Brands want to establish themselves, start a journey, and every year build relevance for their consumer. Fashion brands, while maintaining the core brand values each season, must reinvent themselves. This difference impacts creative work and how to talk to consumers. Brands need big ideas, they want to inspire, and they need consistency. Fashion brands want people to feel something. It’s the craft, the music, and the visuals that sometimes need to deliver a simpler message. It’s heart versus gut.

And in the best cases, they are not mutually exclusive.

Francesca Romana Ferracini Associate Creative Director Ogilvy, New York

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1+2 L[A] 2/2016, AlmapBBDO, São Paulo 3 L[A] 6/2016, AlmapBBDO, São Paulo 4 L[A] 4/2019, AlmapBBDO, São Paulo 5 L[A] 2/2021, AlmapBBDO, São Paulo The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com Lürzer’s Archive

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STEFAN SNYMAN B&A REPS (EUROPE) SUPERSTUDIO.COM STEFANSNYMAN.COM

There is no difference in beauty or fashion advertising compared to other industries except that everything is different.

No sector is as fast-moving as the fashion industry. Spring, summer, fall and winter cry out for new ideas, again and again.

The second something is produced it might already be out of date. On to the next trend!

Michael Wilk Global Head of Art, Serviceplan, Hamburg

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7 1 L[A] 1/2016, Anti-Agency, Saint Louis, Nebraska 2 L[A] 2/2020, Mother, London 3 L[A] 2/2022, Droga5, London 4 L[A] 4/2018, Milk, Vilnius 5 L[A] 4/2012, DDB, London 6 L[A] 2/2022, Dominick Alfonzetti 7 L[A] 4/2013, Y&R, Dubai 8 L[A] 6/2018, Droga5, London The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

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Vol 2/2023

188–189

BILZELMAN.COM

The fashion campaign is a strange beast.

Done well and they’re exceptional, like Diesel’s Be Stupid or Burberry’s recent films. Done badly … they end up being akin to the brilliant parody Twitter, Perfume Ads For Sale [@perfumeads].

They’re a Wild West where strategy takes a back seat. And rightly so.

The part of the brain lusting after Louboutins is very different to the part making a decision between two different, yet basically identical, yogurts in a supermarket.

So, we love and hate fashion advertising for its brilliant pompousness, it doesn’t play by the rules because it doesn’t have to. And it doesn’t even care; it’s having too much fun.

Henry Westcott Freelance Senior Creative/ACD London

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1 L[A] 1/2014, & Co., Copenhagen 2 L[A] 3/2021, Riff Raff, London, Client: Burberry 3 L[A] 1/2017, adam&eveDDB, London, H&M 4 L[A] 2/2013, Louis Vuitton in-house, Paris 5 L[A] 2/2010, Anomaly, London 6 L[A] 5/2015, Mother, New York 7 L[A] 3/2014, Cogent Elliott, London 8 L[A] 3/2015, Lowe SSP3, Bogota 9 L[A] 1/2017, Burberry, in-house, London The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com 3

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Vol 2/2023

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nicholasduers.com

Fashion is an industry driven by creativity, and so is [or should be] advertising. It’s very interesting to watch the love and hate parade between them. Advertising tends to use fashion in a very reduced way while it could really be a strong ally. Fashion brands carry strong messages and values in themselves, that a great advertising campaign will help reinforce and amplify. Both need to acknowledge the strength of each other, learn and build together. We need more fashion in advertising and more advertising in fashion. It’s such an exciting match when both creative directions meet!

Gilles Rivollier Founder & President L’ASSOCIÉ, Paris

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1 L[A] 6/2015, Müller Brothers, Melbourne 2 L[A] 6/2015, Cranford Co, Little Rock, Arkansas 3 L[A] 3/2017, Anomaly, Amsterdam 4 L[A] 3/2013, Plutón, Montevideo 5 L[A] 4/2019, Publicis, Milan , Italy 6 L[A] 6/2017, The Corner, London 7 L[A] 2/2022, BETC, Paris The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com Vol 2/2023

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BEAUTY+FASHION SPECIAL

Ideas beyond words So there you have it, over our preceding pages a range of opinions on whether fashion and beauty advertising plays to different rules, alongside work that perhaps demonstrates just that. Or not.

We posed it because, at Lürzer’s Archive, over many years, we have always loved the best of fashion and beauty work and yet at times struggle to place it. Occasionally we have to face down critical remarks such as “that’s not really an idea” or “it’s just like every other fashion ad”, as old-school creative conservatives (if that’s not a full-on oxymoron) fail to see the finer points of how fashion and beauty concepts work. But we know the leading edge of fashion and beauty communications is often the bleeding edge of communications. It is a messy and provocative space, and truly exciting. It is often full of creativity that is beyond clear explanation … it’s that creative.

Our commentators over previous pages note that fashion and beauty is often different in its creativity and that is its strength. It plays in a more visual way, or a more avant-garde way, because that is at the core of what it is often selling. How you look is (almost) everything.

Some of the most pioneering creative communications in fashion and beauty point to the future as the very nature of their message.

Lürzer’s Archive Special Report

BEAUTY+ FASHION Seriously Superficial

LÜRZER’S ARCHIVE BEAUTY+FASHION Cover: Agency & Co., Copenhagen Creative Direction Thomas Hoffmann Art Direction Thomas Hoffmann, Martin Storgaard Photographer Søren Solkær Starbird Client Jack & Jones

Typically led by image but increasingly working through powerful integrated ways across media, and increasingly pioneering new digital tools and tech, we can see communications in these industries as creative forecasters. For example, they have often been agile in addressing and leading on social and environmental impact issues, and at the forefront of evolving “brand purpose”.

But there is much more to do.

For example, fashion and beauty brands have to be at the front in tackling climate change and sustainability concerns. Surely the demise of fast fashion, as we know it, cannot be far off? There will be radical new stories to tell, which will call for new creative methods.

So the answer to our question – does fashion and beauty have different creative rules? – is this: the rules were not so different in the past but may be in the future. These are industries that can be, must be, more pioneering and more challenging, to keep relevant.

Yes, they are just selling clothes and makeup. And yet these industries are, at worst, only superficially superficial. Sometimes the fun of it all makes them seem that way. In fact, they are vital, fundamental expressions of ourselves. The resulting creativity has to walk a tightrope of being wonderfully engaging to shape our tastes but also highly effective to help shape a better world.

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.

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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.

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

Backdrop [204–210] Yoshitomo Nara Albertina Modern Vienna

Vol 2/2023

Miss Margaret, 2016, Acrylic on canvas, Private Collection, United States of America © Yoshitomo Nara

202–203

CLASSICS Alan Page, our co-director as well as a great copywriter and creative director, sadly died in May 2023.

We dedicate this archive classics to a small selection of his work.

Lürzer’s Archive

Top: 6/1992

Client Mulberry Agency Harari Page, London Art Direction Noel Hassan, Mark Nightingale Copywriter Alan Page Photographer Nadav Kander

Bottom: 1/1985

Client Marley Agency Yellowhammer, London Art Direction Jeremy Pemberton Copywriter Alan Page Illustrator Peter Till

Left: 1/1986

Client Central Office of Information Agency Yellowhammer, London Art Direction Jeremy Pemberton Copywriter Alan Page Photographer Clive Arrowsmith

Right: 2/1984

Vol 2/2023

Client Greenpeace Agency Yellowhammer, London Art Direction Jeremy Pemberton Copywriter Alan Page

Director David Bailey Production Paul Weiland Film Company Music Vangelis

204–205

REVIEWS

On the Thread: From Dakar to Paris La Galerie du 19M Paris Exhibition until 30 July

This exhibition by Chanel, at its atelier in the northern Paris suburb of Aubervilliers, is a project that could/should be a model for many other brands and industries. It draws on Chanel’s annual celebration of its own in-house ateliers and craftsmanship, which took place last in Dakar in December.

The event was accompanied by a related exhibition from local artists, who had been invited to demonstrate their response and expertise. Now these Senegalese works have their own show in Paris. The bold pieces by individuals individuals and collaborations can be seen in a context which invites us to consider how their creativity may filter longer-term into the host brand’s culture and output. Painters, embroiderers, photographers and designers of various kinds are involved. The work can be enjoyed for itself but it is the contrast with the highly-produced Chanel brand and its global position that makes for interesting points of speculation. As the exhibition name suggests, there are strings that connect us all, however fine and fragile.

With creative work, those connections can quickly move from the margins to the center if the ideas are good enough and the opportunities are given.

Commendations to Chanel for this project, which we hope will grow.

Above: Julian Farade, photo by Barada Preira Right: Cécile Ndiaye, photo by Khalifa Hussein

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Vol 2/2023

206–207

REVIEWS

Yoshitomo Nara All My Little Words Albertina Modern Vienna Exhibition until 1 November

To be called “one of the best-known artists of his generation worldwide”, puts a target on Nara’s back that is undeserved. Such weighty expectations can only make his reputation stumble. His work, and his quiet application to just getting on with it, is in no way brashly populist, even though it may be highly accessible. Known for a decades-long focus on producing images of “angry girls”, the paintings, drawings, and sculptures, might even seem a bit weird and obsessive. And yet they can also be seen as innocent and avoid the creepy cute. In graphic style, there’s a sense of crossover with comic books and also children’s book illustrations. There’s a quality and charm to the craft of their making – ranging widely from the almost throwaway sketch to the highly produced – that perhaps doesn’t come over well in reproduction as they are essentially delicate and sensitive. Nara is strongly associated with the Japanese Superflat movement but his work is not so much about a style, or manifesto, as about a state of mind that he seems to explore.

That’s perhaps why the work is so popular. He makes an emotional connection, exploring childhood, girlhood, and a kind of punk sensibility. He apparently finds Western music and English-language songs hugely influential on his work process even though he doesn’t understand the words. In a similar way, much of his fanbase doesn’t understand the Japanese culture he comes from but is delighted to meet him in the spaces where he dreams.

Above: Midnight Pilgrim, 2012/2021 Bronze with black patina, ProWinko ProArt, Courtesy Pace Gallery, Photo by Keizo Kioku.

Left: Work for Dream to Dream, 2001, Acrylic and colored pencil on paper, Collection of the artist, Courtesy Pace Gallery.

Copyright by Yoshitomo Nara.

Lürzer’s Archive

Trace Formations of Likeness Haus der Kunst München Exhibition until 23 July

A visit to this exhibition of more than a thousand images might well have made a nice accompaniment to reading our fashion and beauty special in this issue. At the core, the exhibition is all about the portrait, using a vast survey of photography over centuries and drawing on the terrific archives of The Walther Collection. It explores the ways in which photography empowers or disempowers, represents or re-presents, celebrates or critiques … and so on. It’s here to reflect on and be moved by and changed by. It shows the work of famous living artists – such as Ai Weiwei, Thomas Struth, Pieter Hugo and Ed Ruscha – alongside departed greats – Richard Avedon, August Sander, Bernd & Hilla Becher and others. Most powerfully and meaningfully, it puts the famous and most accepted alongside the anonymous artists or the very much little-known, often from marginalized cultures and places. It generally leaves us to consider the differences and the messages but also presents some conclusions and provocations.

It’s a starting point for more exhibitions and publications that might want to review where we have got to with our visual culture … and how we might need or want to change.

Above: Installation photography

by Maximilian Geuter.

Left: Muholi Zanele: Miss D-vine, Courtesy Yancey Richardson, New York and The Walther Collection, Neu-Ulm, New York.

Both from the exhibits at Trace – Formations of Likeness.

Vol 2/2023

208–209

REVIEWS

Manly Palmer Hall Secret Teachings of all Ages Published by Taschen 356 pages + extras, € 500

Above: Grand Rosicrucian Alchemical Formula, illustration by J. Augustus Knapp.

Right: Taschen’s limited-edition book comes in a spirituallyuplifting slipcase.

Copyright by Taschen.

Lürzer’s Archive

If you have any thoughts on creating new worlds – perhaps you work in games development, are tackling a brief for an in-store experiential fantasy, or you think you are Elon Musk or otherwise have big corners of your big mind to fill – then this is the book for you. It turns out that the great thoughts of the ancient, philosophical pondering and occult knowledge passed down through religions of varying substance, nailed much of our pop culture styling a whole lot earlier than pop itself. Crazy clothing, scary creatures, weird gestures, mysterious marks, apocalyptic weather … it’s all been done before. If you can think it, it turns out somebody out there will believe it.

Now you can “borrow” the inspiration, remix, and excite new audiences.

Manly Palmer Hall (1901-1990) did that hard graft for us back in the 1920s, with his wide travels and earnest, extensive research. However, it was his decision to hire the artists J. Augustus Knapp and Mihran Serailian to support his work that made the book into something to truly treasure. You don’t have to pay €500 for a copy of this classic cult text. Indeed, a search on Amazon and you can find various reprints for as little as 50 cents (plus shipping).

What makes the new limited edition worth the added €499.50 or thereabouts, is that it looks amazing and is an exquisite print collectible.

Taschen adds to their version of the original an entire companion volume, with additional artwork from the archives, plus a portfolio of prints.

Not cheap but surely tax-deductible?

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

@StudioKnowles