Lürzer's Archive 1/22 (International edition)

Lürzer’s Archive Vol 1 2022

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STUDIO SEGHROUCHNI

STUDIOSEGHROUCHNI.CH

HELLO

Welcome to the new Lürzer’s Archive.

Those of you who have faithfully opened our issues for many a year will have noted the design change, perhaps with a gasp or possibly with a quiet ‘at last!’.

From the cover logo through to The Conversation between Walter Geer and Marc Pritchard, and later to art and technology side-by-side in our Reviews, we have succumbed to… evolution.

But what about those of you who stumbled upon us for the first time? It’s all fresh and yet unchanged for you. Welcome and please stick around. We publish quarterly and will be introducing a range of innovations over coming issues. And there is more to read and do on our radically changed website, which should be going live roughly about the time this issue reaches the news-stands and bookshops.

However, one thing hasn’t changed: the celebrated Lürzer’s Archive display of the best advertising and related communications from around the world. The core offering is still at our heart, in print and in the searchable online archive.

The only difference, over coming issues, will be that you see us broaden our range.

To do this, though we need your help. As ever, Lürzer’s Archive is at the centre of a community of talent. We need your submissions, your enthusiasm to share your best, in order to curate the work you see on these pages.

With a reboot of our famous Rankings coming up, there is no better time than now to be getting your work into the archive.

It’s reader support that has made Lürzer’s Archive so cherished and collected over the past incredible 38 years, ever since our late founder Walter Lürzer took the bold step to launch. It is your engagement that enables us to fuel the industry with our unique curation and promotion of the best, and the issues that make this work happen.

So please enjoy these pages… and then help us make the next issue!

Yours

Michael Weinzettl, Publisher & Editor-in-Chief

Lürzer’s Archive

Vol 1/2022

1

Contents

HELLO

1

THE SMALL PRINT

4

IN CONVERSATION Walter Geer III and Marc Pritchard

6

PRINT

9

RANKINGS

REVIEWS We remember Virgil Abloh and find delight in two Davids, one island and beautiful data

25

CREATIVE LIVES In Search of the 30%

140

FILM

143

DIGITAL

151

AUTO22

159

CLASSICS

220

REVIEWS

222

DIGITAL Jessica Apellaniz shows us where to look

[222]

[151]

IN CONVERSATION Walter Geer III and Marc Pritchard: the Instagram that opened up the diversity debate [6]

AUTO22 The new drivers behind automotive creativity [159]

moritzattenberger.com

MORITZ ATTENBERGER PHOTO

THE SMALL PRINT LÜRZER’S ARCHIVE Vol 1/2022 ISSN 1727- 3218 ISBN 978 - 3 - 903909 - 94 - 6

Lurzer’s Archive Vol 1 2022

Cover: Agency &Co. / NoA, Copenhagen Creative Direction Thomas Hoffmann Art Direction Thomas Hoffmann Copywriter Thomas Hoffmann Photographer Sofie Barfoed

EUR 18.90 ISSN 1727-3218 LuerzersArchive.com

Publisher & Editor-in-Chief Michael Weinzettl

Subscriptions and copy sales subs@lurzersarchive.com

Contents © 2022 Lürzer International Ltd. All rights reserved

Managing Editor Christian Hrdlicka

Distribution/Retail latrade@lurzersarchive.com

Art Director Christine Thierry

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

Brand and Design Direction SIX

Published by Lürzer International Limited Henry Wood House 2 Riding House Street London W1W 7FA United Kingdom

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

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

Lürzer’s Archive

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

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

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

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THE CONVERSATION

Walter Geer III (above) and Marc Pritchard in their Instagram chat.

Lürzer’s Archive

Grow your empathy… and do something Digital creative leader Walter Geer III has an Instagram feed – @3rdgeers – that is a forum providing insights into the fight for diversity in advertising. Few posts have had more impact than his recent conversation with P&G brand head Marc Pritchard.

WG For the small amount of people who don’t know who you are... Marc, could you tell us about your job, what you do and some of the brands? I’m sure everyone has most of these brands in their home.

MP Well, Walter, I’m the chief brand officer of P&G. In some companies, that’s a chief marketing officer but we call it the chief brand officer because P&G is a company of brands. And that’s where I spend most of my time, working with the teams throughout the world on how we make our brands the very best they can be. Our mission is to be the very best at brand-building.

That’s not just the best in the consumer products industry, that is in any industry. Brands that you may be familiar with are Pampers, Luvs, Always, Tampax, Tide, Downy, Gain – let me see – Bounce, Dawn, Swiffer, Febreze, Charmin, Bounty, Puffs, Pantene, Olay, Head & Shoulders, Herbal Essences, Oral-B, Crest, Gillette.

WG It’s a heavy list.

MP Venus and Vicks and Metamucil... a whole bunch of brands that, hopefully, you’re familiar with.

WG Did you hit every one of the brands just now?

MP No, I didn’t. There’s another 50 or so.

Those are just the biggest.

WG You hold one of the largest budgets in the world. Everybody wants to do business with P&G and yourself.

In this conversation, we’re going to be personal, open and direct. I’m going to start here. I read that your father was an activist among Mexican farm workers in Colorado. What impact did that have on you, and how has that impacted the work that you’re doing today?

MP Probably in today’s terms, we would not consider him an activist because of what activists do today. But what he did was very active in advancing the migrant farm workers, and doing everything he could to help them. Back then — it was in the ‘60s — Cesar Chavez went on strike for the migrant farm workers to get better wages. I remember my dad being one of the people who looked up to Cesar Chavez and helped in whatever ways he could.

More than anything he helped the migrant farm workers, who were very, very poor, largely Mexican. Back in Colorado when I grew up, they were referred to as Chicanos. They were incredibly poor. They had little access to healthcare, little access to education. My father would give them healthcare because he was in the healthcare business. He would take blood and do blood pressure and help them out.

It gave me empathy. He made it clear that he grew up poor and he was proud that we had advanced to the middle class.

And so he said: ‘We’re in the middle class now. What you’re seeing now, Marc, are people who are poorer than even I was when I grew up. Take that into consideration, make sure you can understand.’ So when I was there with the people, where there were dirt floors, there was a church where everybody went to... that was the most constructed building. I don’t remember running water, toilets, or any of that kind of thing. But I remember joy, love, energy, and community, and that’s what mattered.

This gave me empathy.

It’s helped me to be here today. So I have a lot more than a lot of people did. I can do something with that, do the right thing and help other people.

WG Your father was of Mexican descent. What moment was it where you felt the need to come out and own who you are and own your ethnicity? There are many who look like myself who go into a room and we do what is called ‘code switching’.

Vol 1/2022

6–7

THE CONVERSATION

We simulate what another individual is doing on the other side of the table. ‘I’m going to talk like them, I’m going to emulate them in some ways.’ And it’s difficult. At what point in your career did you say, ‘OK. I’m going to own me.’ I can tell you like yesterday when my moment was.

MP Walt, it was very late in my career, it was more than 30 years in. It was just recently, really. My father’s birth father was named Gonzalez. My father was adopted by a man named Pritchard who was of Mexican descent but he had an English name. My dad married a German woman, and so my mom’s German. I had both Mexican and German heritage. I could pass as Caucasian. Many times I also looked very Mexican as well. So, I learned what that was like and I embraced that pretty heavily as I grew up, mostly because my dad was so into the Chicano world.

But when I got into my job I suppressed it because of fear of judgment, fear of how people might perceive me. I saw prejudice in Colorado. I also saw prejudice when I moved down to Arkansas, which in my school was half-black. There I saw massive layers of prejudice. I saw a little bit of that during my high school period.

So, knowing that and seeing that, I said, ‘Oh’, and kind of kept it down.

But as I got into the work of using our voice in advertising as a force for good and growth, to use it to be able to promote equality, to promote justice, then I said, ‘You know what? It’s time for me to own this.’ And I told my full story. I told the full story at ADCOLOR in 2018. And that was a very emotional moment.

That was the time when I really embraced being Mexican and letting people know. The reason why I did that, Walt, was because I figured if I could provide some emotional safety to people, it would open things up. And it did.

WG I love that and I appreciate your candor. The position you’re in today, you’re one of the most senior, most powerful men in this world of advertising. So, you’ve had moments, I would assume, where you felt, ‘I’m fortunate to be in this space, but if these individuals in this room knew, I might not be here.’

MP Yes. It was not lost on me that my dad’s name from his birth father was Gonzalez. My parents actually considered naming me Mick. And I used to joke that I could have been Mickey Gonzalez. I thought: ‘I don’t think I would have made it to chief brand officer, with the name Mickey Gonzalez.’ That privilege was not lost on me.

I thought: ‘Wow. If people knew I was Mexican, they might think about me differently,’ so it wasn’t lost on me at all. Which is why it took me so long to finally just say: ‘You know what? I’m going to own this.’ I’ve got to own this because we’re not going to get to the kind of place we need to be in either our company or our industry or our society unless people who have these advantages that are built in can come out and say, ‘Hey, look.

Here’s what the reality is.’ Understanding that does then lead then to empathy and then action. And so I’ve become very committed to use the privilege of being in the position that I’m in to be able to make a difference.

WG Do you think that individuals would look at your commitment to diversity differently? As some thought you were a White executive coming into these rooms, they look at you as like, ‘Oh, wow,’ and followed suit, right? People follow what you do, right?

Quite frankly, brands and so on and so forth. But do you think that changes? Is there a positive or a negative to people knowing this?

Because from someone like myself, they’re going to say: ‘Yeah.

We expect Walt to talk about diversity because he’s Black,’ right?

Lürzer’s Archive

And this is a tricky question but does that, you think, benefit us or would it have been better if people continued to believe that you were not of Mexican descent?

MP I think by virtue of moving forward with the actions that I was doing well before I came out as Mexican, I think people followed that because they were paying attention to the substance of what it was about.

I’d never really explored the concept of having built-in advantages of being perceived as a White cisgender male.

I never thought about that until I finally came out and said, ‘Wait…

I’m a Mexican American male.’ Now I understand some of the advantages that come from being male but I also understand the other side of that.

WG This pandemic has brought so much confidence in so many people of color around the world, right? And people of non-color as well…. Do you feel that, as we look across the space, a lot of these brands that came out and made all these promises, ‘Yes, we’re going to do this. Yes, we have a black square. Yes, we’re going to donate money,’ that frankly, we haven’t seen much follow up. Do you feel there has been a real change?

MP Not nearly enough. The mindset has shifted substantially, there’s no going back on the mindset. There are commitments made throughout the industry by brands, by companies. They can’t go back. The other thing is that it’s also been picked up. For example, it’s been picked up by the investment community. The problem is it hasn’t happened fast enough. I’m still frustrated at how slowly the change occurs. The reason is because there’s deeply embedded systemic issues that need to be broken down, and that’s where I want to encourage the industry to keep going.

You’ve got to dig deep to go into the systemic issues, and you’ve got to change systems.

Think about this: the system we operate in was built for the majority. It’s not a broken system, it was built this way. So, it has to be, in many cases, dismantled and rebuilt. Or parts of it have to be dismantled and then rebuilt. So, that’s where leadership really comes in, and so that’s got to be the next generation of activity.

WG How do we get there?

If you were to say, ‘Look, these are the five things that we could focus on’. Change means we need to start at the top. Change means we need to have other people of color, people with disabilities at the top. Because we need to see individuals that look like us when we enter these spaces… I would love to know, like, here are five things, or three things, or even two things that you think most urgent.

MP Commitment.

It starts with commitment from the top, and then…

Want to find out what came next?

A longer version of this conversation is online at luerzersarchive.com and the full original video is at instagram.com/3rdgeers/ Walter Geer III is Executive Creative Director, Experience Design, at VMLY&R, New York.

Marc Pritchard is Chief Brand Officer at Procter & Gamble.

Print [10–137] Client Braun Agency Grey, London Creative Direction Roberto Kilciauskas, Pedro Rosa, Laura Jordan Bambach

Art Direction Pedro Rosa, Sunir Patel Copywriter Roberto Kilciauskas, Alexandru Vasile Photographer Vicky Lawton Category Cosmetics Vol 1/2022

8–9

ACCESSORIES

SAMSONITE Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Promoplan, Santiago de Chile Creative Direction Alvaro Camilla, Felipe Gaete Art Direction Sambuka Henríquez

Copywriter Sambuka Henríquez, Claudio Hernández Digital Artist Lobo Studio LR

LENTESPLUS Campaign Campaign for Lentesplus, a Colombian contact lense brand and chain of opticians.

Agency Ariadna Communications Group, Bogota Creative Direction Andrés Riaño, Samuel Torres

Vol 1/2022

Art Direction Gabriel Perdomo Motta, Camilo Aguirre, Sergio Vega Copywriter Andrés Riaño, Miguel Patiño, Samuel Torres

10–11

AD AGENCIES

Lürzer’s Archive

OG+A Self-Promotion

Agency OG+A, Nairobi Creative Direction Alvas Onguru Art Direction Sambuka Henríquez Kabutha Kago

Copywriter Alvas Onguru Illustrator Lenana Signs, Ngong Road

AUTOMOTIVE

VW VOLKSWAGEN Campaign

Agency DDB Azerbaijan, Baku Creative Direction Vassilio Panagiotopoulos

Vol 1/2022

Art Direction Zema Aliyeva Copywriter Vassilio Panagiotopoulos Photographer Zema Aliyeva

12–13

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

www.jeffludes.com jeffludes

AUTOMOTIVE

Lürzer’s Archive

AUDI Campaign

Agency Taxi, Toronto Creative Direction Kelsey Horne, Alexis Bronstorph

Art Direction Reid Plaxton Copywriter Allegra Wiesenfeld

PORSCHE Campaign

Agency April Six, Bournemouth, UK Creative Direction Damian Scott

Vol 1/2022

Art Direction Wayne Jordan Copywriter Damian Scott Illustrator Bhavesh Patel

16–17

AUTOMOTIVE

VOLKSWAGEN Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency DDB Italy, Milan Creative Direction Stefano Guidi, Salvatore Zanfrisco

Art Direction Alessia Giordano Copywriter Lorenzo Mondini Illustrator Alessia Giordano

Image: Etienne Giradet / Unsplash

“An awards show that champions the power of creativity.

And its positive impact on society.”

Merlee Jayme. Jury Chair 2021

cresta-awards.com

BANKING, INSURANCES

PIRAEUS BANK Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency The Newtons Laboratory, Athens Creative Direction Vangelis Tolias Art Direction Panos Nouveloglou, George Pavlidis

Copywriter Dimitra Andrikopoulou, Alexandros Konstantinidis Illustrator Odd Bleat

ACKO GENERAL INSURANCE Campaign

See more of the campaign at luerzersarchive.com

Agency Ogilvy & Mather, Bangladore, India Creative Direction Sharat Kuttikat Art Direction PA Vidyanath

Vol 1/2022

Copywriter Nikhil Narayanan Illustrator Twinbrains Digital Artist Twinbrains

20–21

BANKING, INSURANCES

Lürzer’s Archive

PROGRESSIVE INSURANCE COMPANY Campaign

Agency Arnold, New York Creative Direction Nathan Donabed, Jamie Mainati Art Direction Luminous Creative Imaging

Vol 1/2022

22–23

BANKING, INSURANCES

MHPLUS BETRIEBSKRANKENKASSE Campaign Campaign for health insurance.

Top: Academic? Choleric ? Allergic?

Bottom: Decision maker? Beacon of hope?

Wearer of braces?

Strapline: No matter who you are.

No matter what you do.

We take care of your health.

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

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

Copywriter Manuel Ruch Photographer Michael Heinsen Digital Artist Malte Kaessens

Rankings AGENCY 1 1 3 4 4 6 6 8 8 8 8

CAMPAIGNS

Harrison & Star Mother, Uncommon Creative Studio Area 23 adam&eveDDB Ruf Lanz Abbott Mead Vickers BBDO Sancho BBDO VCCP TBWA KesselsKramer

New York London London New York London Zurich London Bogota London Paris Amsterdam

CREATIVE DIRECTOR 1 2 2 4 5 5 5 5 5

Adam Hessel Tim Hawkey Nicholas Capanear Markus Ruf Pierre Loo Maurice Ugwonoh Abolaji Alausa Lanre Adisa Erik Vervroegen

ILLUSTRATOR 13 9 9 8 6 6 6 6 6

PHOTOGRAPHER 1 1 3 4 5 5 5 5

Ale Burset Alex Telfer Carioca Lightfarm Studios Leyther Orozco Jef Boes Jonathan Knowles Stephen Stewart

8 8 7 6 5 5 5 5

DIGITAL ARTIST 1 1 3 4 4 4 4 4

Carioca Illusion Moreira Studio La Salvación Studio Brad Pickard Imaging Alld Studio Rafael Gil Blaupapier

13 13 10 9 9 8 8 6 6 6 6

8 8 6 5 5 5 5 5

1 2 3 3 3 3 3 3 3 3 3

Illusion Rafael Gil Valerie Tiefenbacher Giselle Almeida Christian Gralingen Alice Blue Brad Pickard Imaging Anthony Foronda, Putnam Ricardo Salamanca Alexander & Turner Jody Xiong

8 4 3 3 3 3 3 3 3 3 3

CLIENT 1 2 3

McDonald’s Ikea Amnesty International

20 10 6

PRODUCTION COMPANY 1 2 2 4 4 6 6

Academy Films Riff Raff MJZ Prettybird Biscuit Filmworks Smuggler Outsider

6 5 5 4 4 3 3

ART DIRECTOR 1 1 3 4 4

Nicholas Capanear Rafael Gil Isabelle Hauser Jaime Duque Erik Vervroegen

8 8 7 6 6

COPYWRITER 1 1 3 3

Alex Avsharian Ronald Larson Segun Odejimi Markus Ruf

Campaigns: Number of campaigns published in Lürzer’s Archive.

International rankings for the year 2021.

The full rankings can be found at LuerzersArchive.com

5 5 4 4

Vol 1/2022

24–25

BEVERAGES, ALCOHOLIC

Lürzer’s Archive

TEQUILA HIJOLE! Campaign

Agency (Anónimo), México City Creative Direction Rodrigo Casas, Raúl Cardós, Jorge Méndez Art Direction Mauricio Sanchez, Diego Villegas, Marco Rodriguez

Copywriter Rodrigo Casas, Santiago Cardos, Jorge Payro Photographer Buenavista Illustrator Revolver Digital Artist Milena Gil

ABSOLUT VODKA Campaign

Agency VML, New York Creative Direction Craig Elimeliah Art Direction Reid Plaxton

Vol 1/2022

Copywriter Allegra Wiesenfeld Illustrator Andrea Wan

26–27

BEVERAGES, NON-ALCOHOLIC

LAVAZZA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

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

Vol 1/2022

Art Direction Andrea Lantelme Copywriter Federico Bonenti Photographer Emmanuel Lubezki

28–29

BEVERAGES, NON-ALCOHOLIC

BACKUS - AB INBEV PERU Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Ogilvy Peru, Lima Creative Direction Carlos Cardenas, Philyp Caneva, Yasu Arakaki Art Direction Francisco Tolentino

Vol 1/2022

Copywriter Renato Olcese Photographer Fernando Delgado Illustrator Cake Cake

30–31

BEVERAGES, NON-ALCOHOLIC

CHILLY’S/ LIBERTY Campaign Collaboration between Chilly’s, a brand for thermos bottles and luxury department store Liberty.

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Soursop, London Creative Direction Fran Marchesi, Lucy Hitchcock

Art Direction AJ Smith, Sara Farrell Copywriter Natalie Wall Digital Artist Joe Morgan

VIGUL Campaign

Agency The Narrow Street, Bangalore, India Creative Direction Saji Johnny Kundukulam

Vol 1/2022

Art Direction Saji Johnny Kundukulam Copywriter Saji Johnny Kundukulam

32–33

BEVERAGES, NON-ALCOHOLIC

PEPSICO Campaign Campaign for sports energy drink Gatorade showing trails of sweat leading to trophies.

Lürzer’s Archive

Agency Sancho BBDO, Bogota Creative Direction Daniel Alvarez, Diego Contreras, Jose Ariel Hernández

Art Direction Andres Lancheros, Juan David Pérez Copywriter Juan Diego Rivera Illustrator Juan David Pérez

COCA-COLA Campaign

See more of the campaign at luerzersarchive.com

Agency Ogilvy & Mather, Shanghai Creative Direction Mike Pearson, Michele Salati

Vol 1/2022

Art Direction Michele Salati Copywriter Asela Marcelline Illustrator Nam Huyinh, Mark Bohle

34–35

BUILDING INDUSTRIES

Lürzer’s Archive

HOLCIM COLOMBIA Campaign

Agency Grey, Bogota Creative Direction Sebastian Benitez, Alvaro Giraldo, Diego Aguilar Art Direction Juan Jose Posada, Alvaro Giraldo, Cristian Jimenez

Copywriter Sebastian Pelaez Digital Artist Alvaro Giraldo, Cristian Jimenez

CHILDREN

KIDSZONE Campaign Be ready for the ‘little’ invasion.

Campaign for Kids Zone, a child’s party brand.

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

Vol 1/2022

36–37

CORPORATE IDENTITY

Lürzer’s Archive

CHICAGO CITY HALL Campaign

Agency Energy BBDO, Chicago Creative Direction Ricardo Salgado, Rodolfo Fernandes Art Direction Rodolfo Fernandes

Copywriter Ricardo Salgado Illustrator Black Madre Atelier

COSMETICS

BRAUN Campaign Contours can hide.

Leave no unwanted hair behind.

The new Silk•épil 9 Flex with fully flexible head.

See more of the campaign at luerzersarchive.com

Agency Grey, London Creative Direction Roberto Kilciauskas, Pedro Rosa, Laura Jordan Bambach Art Direction Pedro Rosa, Sunir Patel

Vol 1/2022

Copywriter Roberto Kilciauskas, Alexandru Vasile Photographer Vicky Lawton

38–39

COSMETICS

Lürzer’s Archive

LYNX Campaign

Agency LOLA MullenLowe, Madrid Creative Direction Tomas Ostiglia

Art Direction Kevin Cabulli Copywriter Jorge Zacher

AXE Campaign

Agency LOLA MullenLowe, Madrid Creative Direction Tomas Ostiglia

Vol 1/2022

Art Direction Kevin Cabulli Copywriter Jorge Zacher Photographer Alberto Van Stokkum

40–41

COSMETICS

PARK STYLING Campaign PARK Styling is a fast-growing hairdressing chain with exclusive products.

Lürzer’s Archive

Agency &Co. / NoA, Copenhagen Creative Direction Thomas Hoffmann Art Direction Thomas Hoffmann

Copywriter Thomas Hoffmann Photographer Sofie Barfoed

ENTERTAINMENT

MARCHFOURTH BAND Campaign The MarchForth Band performance is described as a ‘sonic explosion delivered by 20 musicians, dancers and artisans.’

Art Direction Andy Batt Photographer Andy Batt

Vol 1/2022

42–43

FASHION

STRAWBERRY WESTERN Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency R&M, New York Creative Direction Ryan Bugden

Photographer Yulia Zinshtein Typographer Ryan Bugden

HILÔ FASHION STORE Campaign

See more of the campaign at luerzersarchive.com

Agency Capim, Cascavel, Brazil Creative Direction Marcelo Sacramento, Gustavo Bu Freitas Art Direction Marcelo Sacramento

Vol 1/2022

Copywriter Gustavo Bu Freitas Digital Artist Marcelo Sacramento

44–45

FOOD

GELATO LA VITE Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

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

PRINGLES Campaign

Agency Grey, London Creative Direction Aaron McGurk, Christopher Lapham

Vol 1/2022

46–47

FOOD

Lürzer’s Archive

HALL’S BEER CHEESE Campaign

Agency An Agency, Louisville, Kentucky Creative Direction Rankin Mapother

Art Direction Pip Pullen Copywriter Rankin Mapother Typographer Ben Anderson

KRAFT HEINZ COMPANY Campaign

See more of the campaign at luerzersarchive.com

Agency Johannes Leonardo, New York Creative Direction Johannes Leonardo Art Direction Andrew Chin, Matt Barton

Vol 1/2022

Copywriter Lannie Hartley, Zoe Myers Photographer Harmony Korine

48–49

FOOD

Lürzer’s Archive

THE GRAINWRIGHT Campaign

Agency An Agency, Louisville, Kentucky Creative Direction Rankin Mapother

Art Direction Pip Pullen Copywriter Rankin Mapother Typographer Pip Pullen

BURGER KING Campaign

See more of the campaign at luerzersarchive.com

Agency David, Madrid Creative Direction André Toledo, Saulo Rocha, Pancho Cassis

Vol 1/2022

Art Director Camilo Jimenez Copywriter Sebastien Rouviere Photographer Pal Allan

50–51

FOOD

LE CHOCOLAT DES FRANÇAIS Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency TBWA, Paris Creative Direction Benjamin Marchal, Faustin Claverie Art Direction Olivier Mularski Copywriter David Philip

Vol 1/2022

Illustrator Simon Landrein, Aurore Carric, Laurene Boglio, Paul Thurlby Digital Artist Younes Chekouh, Thomas Milvaux

52–53

FOOD

LA SOBERANA Campaign for tuna.

Olive oil.

The taste of the mediterranean.

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Creamos, Medellin, Colombia Creative Direction Jorge Montoya E Art Direction Laura Bolaños, Julián Ojeda, Jorge Montoya E

Copywriter Esteban García, Jorge Montoya E Illustrator Alejandro Giraldo, Laura Bolaños

MCDONALD’S Campaign

See more of the campaign at luerzersarchive.com

Agency TBWA, Lima Art Direction Jose Roque Ortiz Copywriter Jefferson Porras Osores

Vol 1/2022

Illustrator Jose Roque Ortiz Digital Artist Jose Roque Ortiz

54–55

FOOD

ROCKIT APPLES Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Special, Auckland Creative Direction Tony Bradbourne Copywriter Matt Simpkins Illustrator Richard Francis

OREO Campaign

Agency The Community, New York Creative Direction Lucas Bongioanni, Frank Cartagena Art Direction Maciel Marcelo, Juarez Rodrigues

Vol 1/2022

Copywriter Federico Díaz, Lyndsey Stormer Illustrator Juarez Rodrigues, Rafael Nobre, Pedro Correa, Ryan Smallman

56–57

FOOD

OUMPH! Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency LOLA MullenLowe, Madrid Creative Direction Tomas Ostiglia Art Direction Jorge Zacher

Copywriter Kevin Cabulli Photographer Ale Burset Digital Artist Diego Speroni

MCDONALD’S NORWAY Campaign

See more of the campaign at luerzersarchive.com

Agency Nord DDB, Oslo Creative Direction Frank Nystuen

Vol 1/2022

Art Direction Torstein Skogedal, Jens Østrem Copywriter Thomas Eltvik, Ingrid Hvidsten

58–59

FOOD

DOMINO’S PIZZA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency The Newtons Laboratory, Athens Creative Direction Giannis Sorotos Art Direction Manos Vitoratos Copywriter Mary Vamvaka

HOUSE + GARDEN

KOOK Campaign

Agency The Narrow Street, Bangalore, India Creative Direction Saji Johnny Kundukulam Art Direction Saji Johnny Kundukulam Copywriter Saji Johnny Kundukulam

Vol 1/2022

60–61

HOUSE + GARDEN

MBSA Campaign for shoe polish.

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Humano, Santa Cruz de la Sierra, Bolivia Creative Direction Ferju Cuevas, Rodsel Ticona Art Direction Jorge Ivan Rodriguez Cobo

Copywriter Ferju Cuevas Illustrator Artefoto Typographer Puma Studio Digital Artist Puma Studio

UNILEVER Campaign for Deja brand washing liquid.

Agency Mullenlowe Delta, Guiayaquil, Ecuador Creative Direction Jaime Duque

Vol 1/2022

Art Direction Jaime Duque Copywriter Jaime Duque Photographer Fernando Decillis

62–63

HOUSE + GARDEN

Lürzer’s Archive

THE CLOROX COMPANY Campaign

Agency Horizon.FCB, Dubai Creative Direction Rodrigo Leal Rodrigues Art Direction Faddy Youssef Rofaeel Copywriter Lucy Elder

HOGAR VERDE Campaign

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Agency BPN, Quito Creative Direction Israel Barahona Art Direction Jose Aguilar Copywriter Israel Barahona

Vol 1/2022

Photographer Pablo Ortega Illustrator Carlos Sánchez Typographer Jose Aguilar Digital Artist Santiago Loján

64–65

HOUSE + GARDEN

Lürzer’s Archive

THE CLOROX COMPANY Campaign

Agency Horizon.FCB, Dubai Creative Direction Rodrigo Leal Rodrigues Art Direction Fady Youssef Rofaeel Copywriter Lucy Elder

KÄRCHER Campaign

See more of the campaign at luerzersarchive.com

Agency Antoni_boost, Berlin Creative Direction Kirsten Frenz Art Direction Maria Rojo Salazar

Vol 1/2022

Copywriter Alex Petrache Photographer Patrick Jaworek

66–67

HOUSE + GARDEN

Lürzer’s Archive

ENGELS Campaign for Engels brand paint.

Agency Wunderman Thompson, Hong Kong Creative Direction Carlos Camacho Art Direction Niels Bredemeijer

Copywriter Rienk de Vries, Carlos Camacho Illustrator Miguel Angel Lopez Fonseca Digital Artist Ramon Cedeño

HYPO BLEACH Campaign

See more of the campaign at luerzersarchive.com

Agency Noah’s Ark, Lagos Creative Direction Lanre Adisa, Abolaji Alausa, Maurice Ugwonoh

Vol 1/2022

Art Direction Gabriel Olonisakin Copywriter Abolaji Alausa Illustrator Jideobi Okonkwo

68–69

HOUSE + GARDEN

STUCKI HAUSTECHNIK Campaign Spot the dripping tap in this abstract campaign for a Swiss building services company.

Lürzer’s Archive

Agency Nordland, Steffisburg/ Thun, Switzerland Creative Direction Peter Gärtl Art Direction Peter Gärtl Illustrator Peter Gärtl

MISCELLANEOUS

IMPERIAL WAR MUSEUM Campaign Subline: The new Second World War & Holocaust Galleries.

See how the war affected all walks of life.

See more of the campaign at luerzersarchive.com

Agency Grey, London Creative Direction Chris Lapham, Aaron McGurk, Javier Campopiano

Vol 1/2022

Art Direction Aaron McGurk, Liam Campbell Copywriter Chris Lapham, Thomas Farrell Photographer Hazel Thompson

70–71

MISCELLANEOUS

Lürzer’s Archive

CNA IDIOMAS Campaign

Agency Talent Marcel, São Paulo Creative Direction João Livi, Otavio Schiavon, Rafael Campello Art Direction Geraldo Junior Copywriter Luis Mesquita

Illustrator Pedro Jones, Rodrigo Wolff, Marcio Guerra Typographer Geraldo Junior Digital Artist Hadolpho Corrêa, Sandro Satake

STRONG NATIONAL MUSEUM OF PLAY Campaign See the masterworks of quarter and console at the World Video Game Hall of Fame.

The Strong – National Museum of Play.

Agency Partners + Napier, Rochester, New York Creative Direction Rob Kottkamp Art Direction Dan ODonnell

Vol 1/2022

Copywriter Scott Allen Illustrator David Cowles Digital Artist Chris Bodie

72–73

MISCELLANEOUS

BELVEDERE Campaign Visitors at long last.

Campaign for Vienna’s Belvedere museum.

Lürzer’s Archive

Agency Heimat, Vienna Creative Direction Simon Pointner Art Direction Katharina Handlos Copywriter Nora Vilim

Vol 1/2022

74–75

OFFICE EQUIPMENT

SHARPIE Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency VMLY&R, Mexico City Creative Direction Luis Madruga Enriquez Art Direction Rodolfo Lopez

Vol 1/2022

Copywriter Raul Pineda, Rodrigo Casas Digital Artist Ricardo Salamanca

76–77

PETFOOD

BIOBLOOM Campaign Make your darling feel relaxed.

Campaign for CBD oil for animals.

Agency Demner, Merlicek & Bergmann / DMB., Vienna Creative Direction Alistair Thompson

Art Direction Marc Hörzer, Daniela Sobitschka, Lukas Hueter Copywriter Robin Kappacher Digital Artist Maximilian Kment

E N T S PA N N D E I N E N L I E B L I N G : BIO CBD FÜR TIERE.

biobloom.at

Lürzer’s Archive

MISU CATS FOOD Campaign

See more of the campaign at luerzersarchive.com

Agency Wings the Agency, Caracas Creative Direction Demian Campos

Vol 1/2022

Art Direction Eduardo Gómes, Alana Vitrian Copywriter Demian Campos, Eduardo Gómes Digital Artist Wilmer Cortez

78–79

PHARMACEUTICALS + OTC

IPHA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency The Leith Agency, Edinburgh, UK Creative Direction John McPartland

Art Direction Rufus Wederburn Copywriter Lottie Grant Photographer Kate Peters

EASY LABS Campaign

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Agency McCann Health, São Paulo Creative Direction Alessandra Gomes

Vol 1/2022

Art Direction Eduardo Basque Copywriter Fernando Franchim Digital Artist Eduardo Basque

80–81

PUBLIC EVENTS

ROYAL COURT THEATRE Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Paul Belford Ltd, Berkhamsted, UK Creative Direction Paul Belford Art Direction Paul Belford

Vol 1/2022

Copywriter Dean Webb Typographer Paul Belford

82–83

PUBLIC EVENTS

THE FRENCH DISPATCH Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Disney, in-house

MEDICAL ADVERTISING HALL OF FAME Campaign

Agency Harrison & Star, New York Creative Direction Adam Hessel, Mike Sullivan, Alec Vianu Art Direction Alec Vianu

Vol 1/2022

Copywriter Mike Sullivan Illustrator Hannah Witner Typographer Alec Vianu, Hannah Witner Digital Artist Alec Vianu, Hannah Witner

84–85

PUBLISHERS, MEDIA

Lürzer’s Archive

TV 2 DENMARK Campaign

Agency TV 2 Creative, Copenhagen Creative Direction Chaga Signe Bruun Art Direction Mikkel Møller, Kristian Vestergaard Copywriter Thomas Fabricius

SITUATION STOCKHOLM Campaign Situation Sthlm is a street newspaper sold by homeless people in Stockholm.

See more of the campaign at luerzersarchive.com

Agency The&Partnership, Stockholm Creative Direction Timo Orre

Vol 1/2022

Art Direction Marcus Lundvall Copywriter Hanna Adelstål Photographer Pontus Norberg

86–87

PUBLISHERS, MEDIA

BBC Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency BBC Creative, Manchester Art Direction Reuben Dangoor Copywriter Stuart Gittings

BBC Campaign Special build for the new BBC series ‘This is Going to Hurt’ about the chaotic life of a Junior Doctor in the NHS. The billboard is made up of 300 working model pagers featuring hospital messages.

Agency BBC Creative, Manchester Creative Direction Paul Jordan, Russell Hendrie, Paul Bailey

Vol 1/2022

Art Direction Bethany Wood Copywriter Shannon Cripps

88–89

PUBLISHERS, MEDIA

THE NEW YORK TIMES Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Droga5, New York Creative Direction Tim Gordon, Laurie Howell, Toby Treyer-Evans

Vol 1/2022

Art Direction Inna Kofman, Jessica Pester Copywriter Nico Baumann, Sara Muchnick Photographer Yana Yatsuk

90–91

RETAILERS

Lürzer’s Archive

LIDL BULGARIA Campaign

Agency proof., Sofia Creative Direction Angel Iskrev Art Direction Emanuela Belovarski

Copywriter Asya Maradzhiyska Illustrator Vess Blackstone

BREUNINGERLAND Campaign

See more of the campaign at luerzersarchive.com

Agency Preuss und Preuss, Berlin Creative Direction Michael Preuss, Maximilian Stengl

Vol 1/2022

Art Direction Emma Benz, Linda Wingert Copywriter Melissa Ebel Photographer Monica Menez

92–93

RETAILERS

JARIR BOOKSTORES Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Wunderman Thompson, Hong Kong, Riyadh, Amsterdam Creative Direction Rayyan Aoun, Carlos Camacho

Vol 1/2022

Art Direction Ramon Cedeño, Carlos Camacho Copywriter Paddy OMahoney, Carlos Camacho, Kiefer McKenzie Photographer Fernando Decillis

94–95

RETAILERS

Lürzer’s Archive

IKEA Campaign

Agency Mother, London Photographer George Logan Digital Artist Karl Hugill

IKEA Campaign

See more of the campaign at luerzersarchive.com

Agency Rethink Communications, Vancouver Photographer JVG Digital Artist JVG

Vol 1/2022

96–97

RETAILERS

L’ECHANGE BOOKSTORE Campaign Like Godzilla monsters on vintage posters, famous writers battle it out for the reader’s attention in this new series for a local bookstore in Montreal, Canada.

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Les Evades, Montreal Creative Direction Charles Gagnon Art Direction Martin Dupuis

Copywriter Martin Bernier Illustrator Massimiliano di Lauro

SERVICES

LONG Campaign Long is a rehabilitation service for clothes in Mexico City. Long’s purpose is to extend the life of fast fashion through four basic services: repair, alteration, transformation, and customization.

See more of the campaign at luerzersarchive.com

Agency Florence Consulting, Mexico City Creative Direction Félix Tapia

Vol 1/2022

Art Direction Raúl Saldaña, Félix Tapia Copywriter Natalia Silva Illustrator Raúl Saldaña

98–99

SERVICES

Lürzer’s Archive

BELLMAN Campaign

Agency Steve, Paris Creative Direction Dorbais Edouard, Guillaume Lartigue

Vol 1/2022

Art Direction Isaora Le Jeannic Copywriter Aymeric Druaux Photographer Sacha Goldberger

100–101

SERVICES

VERBUND Campaign The melting glaciers give a face to climate change.

Time to turn our destiny around.

Time for the energy turnaround.

The power of the turnaround.

Austrian energy company Verbund thus draws attention to global warming and the urgency of the energy turnaround.

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Heimat, Vienna Creative Direction Rodolfo Fernandes Art Direction Simon Pointner, Fabian Kohlert

Copywriter Leopold Kreczy Photographer Bernhard Lang

VILLA DOG, PETSHOP & HOTEL Campaign

Agency Capim.AG, Cascavel, Brazil Creative Direction Marcelo Sacramento, Gustavo Bu Freitas Art Direction Marcelo Sacramento Copywriter Gustavo Bu Freitas

Vol 1/2022

102–103

SERVICES

FUGAPET Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Capim.AG, Cascavel, Brazil Creative Direction Marcelo Sacramento, Gustavo Bu Freitas Art Direction Marcelo Sacramento, Arthur Lopes

Copywriter Gustavo Bu Freitas, Mariana Jorge Digital Artist Marcelo Sacramento

NEW ZEALAND POLICE Campaign

Agency FCB New Zealand, Auckland Creative Direction Leisa Wall, Peter Vegas Art Direction Lauren Southon Illustrator Scott Kelly

Vol 1/2022

104–105

SERVICES

LOCALIZA Campaign for a car rental company.

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Isobar Dentsu Colombia, Bogota Creative Direction Rodrigo Bolivar, Oscar Martínez

Vol 1/2022

Art Direction Oscar Martínez, Bibiana Sanchez, Jessica Aguirre Copywriter Hamilton Peña, Jhon Jaimes Photographer Claudia Pulido

106–107

SOCIAL + ENVIRONMENT

EMMIE’S BOOKS Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency The Leith Agency, Edinburgh, UK Creative Direction John McPartland

THE ASIAN AMERICAN FEDERATION Campaign

See more of the campaign at luerzersarchive.com

Agency Droga5, New York Creative Direction Karen Land Short, Tim Gordon, Felix Richter

Vol 1/2022

Art Direction Nod Arceo McFall Copywriter Gabriel Sehringer Illustration Kenisha Rullan

108–109

SOCIAL + ENVIRONMENT

Lürzer’s Archive

CALM Campaign

Agency adam&eveDDB, London

Vol 1/2022

110–111

SOCIAL + ENVIRONMENT

Lürzer’s Archive

CHANGE.ORG Campaign

Agency BBDO Argentina, Buenos Aires Creative Direction Tomas Wilhelm, Juan Pedro Ferretti

Art Direction Valentín Grondona Copywriter Mariana Ichiyanagui Illustrator Emiliano Renzi

WAYNE COUNTY Campaign

Agency DP+, Huntington Woods, Michigan Creative Direction Greg Farley Art Direction Ania Czuprynski Copywriter Jason Danielewicz

Vol 1/2022

112–113

SOCIAL + ENVIRONMENT

ADOTE Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency White Rabbit, Budapest Creative Direction Luis Paulo Gatti, Istvan Bracsok, Levente Kovacs Art Direction Luis Paulo Gatti, Dennis Silveira, Frederico Livi

Copywriter Flavio Pinheiro, Martina Martinez Typographer Frederico Livi, Augusto Lima Digital Artist Square Pixel

DUBAI SCIENCE PARK Campaign Chronic depression often leads to various misgivings. A small test can tell you if you should seek help.

See more of the campaign at luerzersarchive.com

Agency Serviceplan Middle East, Dubai Creative Direction Akhilesh Bagri, Saleh El Ghatit

Vol 1/2022

Art Direction Oussama Founi Copywriter Sameer Suri Illustrator Jiawen Chen

114–115

SOCIAL + ENVIRONMENT

Lürzer’s Archive

NON VIOLENT RESISTANCE Campaign

Agency Sid Lee, Montreal Art Direction Julien Hérisson Copywriter Ugo Martinez, Adrien Héron Illustrator Carioca

Vol 1/2022

116–117

SOCIAL + ENVIRONMENT

DISK DENOUNCE 180 Campaign for a domestic abuse hotline.

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

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

PRIME INDIAN HOSPITALS Campaign 36,812 pricks to look like a fighter.

2 to win the fight.

Get you COVID vaccine administered now.

See more of the campaign at luerzersarchive.com

Agency McCann Worldgroup, Mumbai Creative Direction Rathish Subramaniam

Vol 1/2022

Art Direction Sandeep Palasseri Copywriter Karthik R Photographer Amol Jadhav

118–119

SOCIAL + ENVIRONMENT

ACRA Campaign for a charity fighting human trafficking in the EU.

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Different, Milan, Italy Creative Direction Francesco Guerrera Art Direction Roberto Ferrario

Copywriter Veronica Maggi Photographer Stefano Rosselli

VOICEFOUND Campaign

Agency TAXI, Toronto Creative Direction Kelsey Horne, Alexis Bronstorph Art Direction Reid Plaxton

Vol 1/2022

Copywriter Pete Macinnis, Allegra Wiesenfeld Illustrator Toko Hosoya

120–121

SOCIAL + ENVIRONMENT

BFU SWISS COUNCIL FOR ACCIDENT PREVENTION Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Ruf Lanz, Zurich, Switzerland Creative Direction Markus Ruf, Danielle Knecht-Lanz

Art Direction Isabelle Hauser Copywriter Markus Ruf Digital Artist Lorenz Wahl

SOUTH AFRICAN NATIONAL BLOOD SERVICE Campaign

See more of the campaign at luerzersarchive.com

Agency Joe Public United, Cape Town, South Africa Creative Direction Pepe Marais, Brendan Hoffmann, Xolisa Dyeshana Art Direction Rameez Dollie, Nethaam Abrahams

Vol 1/2022

Copywriter Yazeed Solomons Photographer Carioca Typographer Rameez Dollie, Nethaam Abrahams Digital Artist Carioca

122–123

SOCIAL + ENVIRONMENT

KWARA STATE GOVERNMENT Campaign to encourage continued Covid vaccination uptake.

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency The Hook Creative Agency, Magodo, Nigeria Creative Direction Balogun Toheeb, Bayo Owosina, Sam Ochonma

Art Direction Louis Essien Copywriter Oyin Oludipe

M.A.L.I. – MOUVEMENT ALTERNATIF POUR LES LIBERTÉS IN Campaign

Agency TBWA RAAD, Dubai Creative Direction Walid Kanaan, Alexander Pineda

Vol 1/2022

Art Direction Paula Zambrano Copywriter Alexander Pineda Illustrator Alexander Pineda

124–125

SOCIAL + ENVIRONMENT

BRASKEM Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency VMLY&R, São Paulo Creative Direction Rafael Gil, Rafael Pitanguy, Rodrigo Almeida Art Direction Rafael Gil, Pedro Assis Copywriter Breno Oliveira

Vol 1/2022

126–127

SOCIAL + ENVIRONMENT

ANTI-PIRACY CENTER OF GEORGIA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Windfor’s, Tbilisi Creative Direction Beqa Meparishvili, Nino Gordeladze

Art Direction Mari Sukhishvili, Luka Makharoblishvili Copywriter Sophie Ivanishvili Illustrator Giorgi Borchkhadze

GREENPEACE Campaign

See more of the campaign at luerzersarchive.com

Agency VMLY&R, São Paulo Art Direction Rafael Gil, Marcos Lee

Vol 1/2022

128–129

SOCIAL + ENVIRONMENT

Lürzer’s Archive

ROYAL NATIONAL INSTITUTE OF BLIND PEOPLE (RNIB) Campaign

Agency The&Partnership, London Creative Direction Yan Elliott, Micky Tudor Art Direction Helen Rogerson, Adam Jackson, Ted Price

Copywriter Helen Rogerson, Adam Jackson, Ted Price Photographer Jason Hindley, Keiko Hindley, Wyatt Clarke Jones

Vol 1/2022

Illustrator Ray Loty, Annie Mansergh, Richard Forder Typographer Marc Donaldson Digital Artist Ray Loty, Annie Mansergh, Richard Forder

130–131

SOCIAL + ENVIRONMENT

THE HOOK CREATIVE AGENCY Campaign Reducing social media time daily can help improve your mental health. #putdownyourphone

Lürzer’s Archive

Agency The Hook Creative Agency, Magodo, Nigeria Creative Direction Balogun Toheeb, Bayo Owosina, Sam Ochonma

Art Direction Ubia Victor Copywriter Oyin Oludipe

EMPRESAS PÚBLICAS DE MEDELLÍN (EPM) Campaign

See more of the campaign at luerzersarchive.com

Agency Sancho BBDO, Bogota Creative Direction Mario Lagos, Jairo Rubiano, Julián Lozano Art Direction Andrés García Avila, Gabriel Muñoz

Vol 1/2022

Copywriter Felipe Gonzalez, Valentín Guzman, Luis Guillermo Jaramillo Illustrator Carlos Ribero Digital Artist Camilo Molina

132–133

SOCIAL + ENVIRONMENT

Lürzer’s Archive

AFA (ALOOR FORESTRY ASSOCIATION) Campaign

Agency The Narrow Street, Bangalore, India Creative Direction Saji Johnny Kundukulam Art Direction Saji Johnny Kundukulam Copywriter Saji Johnny Kundukulam

GREAT OUTDOORS COLORADO Campaign

Agency Sukle Advertising & Design, Denver, Colorado Creative Direction Mike Sukle

Vol 1/2022

Art Direction Jeff Euteneuer Copywriter Curtis Smith Illustrator Matt Carpenter

134–135

SOCIAL + ENVIRONMENT

APG | SGA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Ruf Lanz, Zurich, Switzerland Creative Direction Markus Ruf

Art Direction Isabelle Hauser Copywriter Markus Ruf Digital Artist Isabelle Hauser

JUGEND EINE WELT Campaign Child labor destroys childhood.

Agency Heimat, Vienna Creative Direction Simon Pointner Art Direction Fabian Kohlert

Vol 1/2022

Copywriter Leopold Kreczy Photographer Leon Greiner Typographer Paulina Sadlo

136–137

SPORTS

GYMBOX Campaign

Lürzer’s Archive

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Agency BMB, London Digital Artist James Wakefield

ADIDAS Campaign

Agency TBWA\NEBOKO, Amsterdam Creative Direction Thierry Albert, Annie Chiu Photographer Sophie Ebrard

Vol 1/2022

138–139

CREATIVE LIVES

In search of the 30 per cent Introducing our new Creative Lives feature, in which we invite people to share insights, inspirations and issues from their personal and professional journeys.

We start with two continent-hopping talents: Fatima Ansari, a writer in the process of moving to Germany from Pakistan, and Bianca Guimaraes, a co-founder of hot agency Mischief. Both are ‘graduates’ of BBDO. FA Bianca, I don’t know if you remember but we had a chat previously. So great to meet you again! I’m based in Lahore and in the middle of a transition from Lahore to Hamburg. I’m connecting from my room, and have just sent my cat out so she doesn’t disturb us in the middle of this.

BG That’s great. As you know, I’m a partner and co-executive creative director at Mischief. We started Mischief about... I think it will be two years in June 2022. Right now, I’m in Brazil, in São Paulo visiting family. That’s where I’m from. I moved to the States 12 years ago to work at JWT New York and then I worked at BBDO New York.

Then we started Mischief: me, Greg Hahn, who used to be the CCO of BBDO New York, my partner Kevin Mulroy, who’s the other partner and executive creative director, and some other amazing folks. And I’m excited to talk to you again.

We are based in New York, we just opened our office, our space. It’s in Dumbo. So we decorated, we did construction work, and now it’s finally up and running.

We are playing it by ear to see how we’re going to do the whole ‘going back to the office’ thing. It’s very flexible, and we want to keep the mindset of ‘no fixed address’. So people can work from anywhere, work on their hours, whenever it makes sense to them.

We want to respect people’s schedules and preferences, but a lot of people like being in the office and it works, especially for the juniors. They can benefit by being around people, so we have this space now in Dumbo.

FA When I graduated, I didn’t know there was a role like copywriter or being a creative in advertising. I just knew BBDO because I had studied them in business school. I was intrigued we had them here in Pakistan. You can guess that advertising isn’t that big of an industry in Pakistan. It’s very small and limited to certain cities.

Surprisingly, BBDO was in Lahore and that is where I started as a copywriter. That has been the only agency where Lürzer’s Archive

I’ve worked in Pakistan. The good thing was that I entered as a person who didn’t know what copywriting meant, what being a creative meant.

I went from a creative associate level to a senior creative/ copywriter in 4.5 years. Now I want to learn more. It was the global BBDO network that showed me that there is more to creativity than where the Pakistani industry is currently at. Bianca, your work was one of the many works in BBDO’s network that inspired me to get out of the comfort zone of my country, and the way that advertising is run here, and explore more.

You were one person I reached out to through my network. I approached a lot of mentors and they gave a perspective of what it’s like to be an ex-pat creative in the US, UK, or Europe. I decided a market change was what I needed. I’m now moving to Publicis One Touch in Hamburg, Germany. They started in the pandemic as well, just like Mischief, and are catering to the global brand of Nivea.

BG We all want to keep the learnings from the pandemic, and apply them after we’re back in the office. I think we have to see how it’s going to work when some people are in the office and some people are not.

The quick business trips will be something that we’ll do less of.

The cost is not good for the planet and not necessarily good for the business. Obviously, there’ll be big meetings and it’s important to have face time. But we need to think through when it makes sense so we can save everyone from burnout and then people can spend more time with their families or partners.

Same goes for production. We saw that working remotely is not ideal, but a lot of it can be better. If you don’t have to go to a shoot for many days, and you can do some days via Zoom, and then join for the rest, that’s great.

L[A] Both of you either have moved, or are about to move, between cultures. How do you think that can feed into the work?

FA In Pakistan, I’ve never worked with a creative partner, ie. an art director. Do I need one? This is a new concept for me because, for the first time in five years, I’ll have a creative partner in terms of art direction.

I’m moving to an agency where I’ve been told that almost 95 percent of the people there are ex-pats, and only a few of them speak German. So we are working with our second language,

Fatima Ansari

English. We’re not speaking in our first language, and we’re working in a country where most of us don’t speak the national language.

So a whole lot of adjusting, more learning and sometimes just listening in and absorbing the new information so I can implement it for the global campaigns, is what this cultural shift means right now for me. In Pakistan, we were in a little bubble where everyone knows everything, both languages, be it Urdu or English, everyone will understand that. There’s nothing that you need to be cognisant of, no sensitivity around cultures because everyone’s from the same place, same country.

This new learning will affect the creative output.

If you’re sitting in a brainstorm session and somebody is bringing in an insight from his or her culture, then you would probably go back and research on it. There might be some expression that somebody uses that you might not be aware of, and that sparks something as an idea.

BG I can relate to that. When I moved to the States 12 years ago, I knew how to speak English, but I was nowhere near comfortable with it in concepting. I remember not being able to be myself because I couldn’t make jokes. The timing of my jokes were always off.

So then I was like, ‘Ah, maybe I shouldn’t make jokes.’ Once I started feeling more comfortable, I would make a joke and people would say: ‘What?’. I’d reply: ‘Guys, that’s a joke.’

And they might say: ‘Oh, I wasn’t expecting you to be making a joke,’ as if saying ‘you have no sense of humour’. I would say: ‘In Portuguese, I do.’

Almost everybody in New York seems to be from another country or from another place. Everybody has an accent and I think the people that did the best were people that were less worried about making mistakes with language.

There was one guy who always spoke in broken English but so confidently. I thought: ‘Everybody understands him while I’m correcting myself and going backwards.’

L[A] Why do you like working in this industry, what excites you?

FA What I like about this industry is that the spectrum is vast. You could be making a fun, entertaining piece of work and you could also be making very impactful work that gets the nation talking.

Bianca Guimaraes

Mostly you are serving the clients’ briefs and you find few clients who really want you to be the actual agency partner, to come up with big ideas and solutions. But that’s when I get to really use my 100 per cent and tell them: ‘Oh, look. This is another way. This might not be safe. It might just be an unconventional way of dealing with your brief, but it can get the work done even more effectively.’

There might be monotony for 70 per cent of the day where you are doing work that you have done countless times. But there is also that 30 percent that is new, where things are exciting and scary.

Sometimes we’d go out and find clients on our own, who’d accept ideas that we have for their brand. Through that we built strong relationships where clients would then come to us and say: ‘Oh, you did this work for us on your own. Now we are bringing you the brief. Let’s do this work and bring in a solution like last time.’

That is what helped me develop as a creative. Sometimes, an idea would come and you might have to find a client for it and that might get you new clients. Then we get to a stage, where bigger clients like Unilever came asking that, ‘We want an idea that’s like the one that you did for UN Women. We want something like that, which gets people talking.’

BG How I got into the business was more a process of elimination.

There were all these things I didn’t want to do and I had no idea what to do. Then advertising sounded fun, and I thought: ‘Oh, I could try that.’ I didn’t know what I was getting myself into until I was in college, studying all the different areas and leaning towards creative classes and thriving.

I was fascinated with creating things that could become part of culture, that would change behavior, especially when we do work for good. Advertising is such a powerful tool. Using it to make a difference and not only sell chocolates, that’s awesome. So I found joy into doing that, and I loved how each project can be different.

It’s not just the problem is different, but the medium that you work with is different. The solution that you find can be from creating a new product, to changing the existing product, to creating a film, to using some new tech to create something that no one has ever seen or done before. So all the possibilities and the excitement around creating things that can solve different problems was something very exciting to me.

L[A] Is that because you both work at a time when digital is increasingly dominant?

Vol 1/2022

140–141

CREATIVE LIVES

Ansari’s worked for UN Women to oppose ‘Jahezkhori’, the illegal demand for dowries. She used henna-ed hands, associated with marriage, to signal ‘stop’.

Her work to encourage safer teamaking in Pakistan – cause of 70% of burns to children in Pakistan homes – helped halve the level of accidents.

Guimaraes has a strong event-driven dimension to her work.

She launched a rocket to launch a new seltzer for Miller.

With Gerry’s Partisan Pizza a pop-up food business was a provocative way to attack vote-rigging, demonstrating how gerrymandering works by a blatant prejudice against delivery to some areas.

FA Even more than just digital, it’s the time that we’re living in right now, especially with the pandemic. Briefs that used to come in to sell a product have changed to, ‘What is the purpose of our brand?’

We’re working at a time when brands are more consumer and human-centric rather than just product-led or brand-led. So that gives us more mediums that we can use to reach consumers effectively, or fast, or within a click, or maybe make something that gives consumers a laugh during this tough time. We have flexibility that it’s not just a film brief, like it used to be. It might be the NFT that they can own and feel nice about, or it could be a game that they play so they remember your brand.

BG One of the things that we pride ourselves on is the range in tone and executions that we do. At Mischief, we don’t want to be known as the comedy shop, or the shop that only does stunts, or the shop that only does big TV commercials with celebrities. We have so much in our hands, from different technologies to infrastructure, amazing production companies that can pull off so much... But the crazy ideas we come up with are always there to solve a problem that’s different, not for the sake of being different, but for the sake of solving that specific problem.

We have to ask ourselves: how can we do something that’s not going to be ignored by anyone? That no one is going to think: ‘This is another brand putting an ad in front of me, they paid for my eyeballs to be looking at this.’ Instead we need to ensure they think: ‘Oh, I want to engage, there’s something interesting here. This work created some emotion in me...’

FA I am inclined towards brands who feel the need to have a purpose. It’s not just for the sake of CSR or that they think: “It’s 2022, so we must talk about something really woke.” That’s not an authentic reason. We need clients who want to make their brand bigger than one product. Consumers are looking for more.

Lürzer’s Archive

Most of my prized work is the one that had a purpose built into it. Either it was for a health initiative or for a brand that wanted to do good and give back to the community while still integrating its brand at the core.

I’ve been working with UN Women and they have it as their agenda – to produce purpose-based campaigns for good from their platform. But I’ve also worked with organizations like Packages (Mall in Lahore) that have commercial brands, but they have also produced cause-based campaigns through their foundation. They have served people through that and made a huge impact on the country and its people.

My favorite ones have been with purpose, but that is not to say that I haven’t had commercial campaigns that weren’t fun. We recently had a detergent campaign as well where we annoyed our consumers by putting various stains on the screens. As a result, everyone was seen rubbing their TV screens just to see if the screen or the mobile screen was dirty. We frustrated our audience for 48 hours. That was pretty fun to watch, even fun to see my own family trying to rub the screen.

BG We want to make sure that if we’re working with brands that want a purpose-led message, then they are putting their money where their mouth is. There is a big risk for any brand that wants to look good by talking about something that they have nothing to do with.

We haven’t had that specific problem with our clients. But I think, philosophically, this is something that we see as being tricky, when every brand wants to do something good, if they’re not doing it on the inside or helping that specific cause in some way.

Advertising is so powerful. It makes sense, when we can really use this tool to change things, to make the world a more positive place somehow.

Film [144–150] Client Nike NYC Agency Nike NYC, inhouse, New York

Creative Direction Wyatt Angelo, Carlo Michelangelo Lutto, Nathan Skinner Director Ben Dean Production Freenjoy Vol 1/2022

142–143

FILM

RENAULT HYBRID Don’t use it

BMW Nothing but sheer joy

CHEVY SILVERADO The Sopranos SuperBowl Ad

Here’s a first. A car company telling is not to use our car, even a hybrid car. Well, actually they are saying don’t use it all the time. And in the film we see various owners of a hybrid Renault Captur E-Tech decide to go by bike, use an umbrella in the rain or walk to school with the kids. It’s a nice, on brief film establishing Renault’s care and concern for the environment.

Voted the best 2022 Chinese New Year ad some, this goofy and often madly vibrant mishmash of animation, stills and anything you can think of succeeds briliantly in associating BMW with (the year of) the Tiger. It’s title is Nothing but sheer joy. And it’s a very apt description of this triumph over the usual over-emotional epics turned out for New Year.

Agency Publicis Conseil, Paris Creative Direction Marcelo Vergara Art Direction Yves-Eric Deboey

Agency TBWA\Bolt, Shanghai Creative Direction Cook Xu, Mo Chen Art Direction Miaoxin Yang

A recreation of the iconic ‘Sopranos’ opening credits, this spot – one of the favorites from this year’s Super Bowl provides a welcome flashback to one of TV’s greatest series. Jamie-Lynn Sigler, who played the mob family’s daughter, shows off Chevrolet’s new all-electric 2024 Silverado EV in a drive from Manhattan to New Jersey, the same journey originally made in the show’s opening credits by Tony Soprano in his 1999 Chevy Suburban. She ends her drive – by meeting up with Robert Iler, her brother A.J. on the show.

Copywriter Mathieu Degryse Director Natanaël Ericsson Production Diplomats

Copywriter Doris Chen, Kerwin Fan Director Jonah Gabriel Production Filmate

Agency Commonwealth// McCann, Detroit

RENAULT E-TECH Hard to explain, easy to understand

APPLE WATCH 911, That’s Your Emergency?

In this light hearted spot for Renault E-Tech, an engineer finds it difficult to explain to his family and friends about exactly what it is he does for a living. Despite the science involved in his job, when the benefits of the E-Tech hybrid technology are felt by the driver of the car, the complications become easy to understand.

As you’d expect from Cupertino’s in-house team, this is beautifully executed.

We hear various desperate 911 calls being answered. A farmer isolated and immobilised with a broken leg. A girl trapped and panicked as river water floods her car. Etc etc. You know the calls. But did you know you can make them from an Apple Watch. We didn’t. So on that level this works. Is it up to Apple’s high standards? Decide for yourself online.

Agency Publicis Conseil, Paris Creative Direction Marcelo Vergara Art Direction Raphael Halin

Lürzer’s Archive

Copywriter Benjamin Sanial Director Nacho Gayan Production Stink

Agency Apple, in-house, Cupertino, California

Creative Direction Bob Guisgand, Duffy Patten Director David Chase

SAMSUNG GALAXY S22 But Make it Fashion

APPLE The Comeback

APPLE IPHONE Life is but a dream

To celebrate the launch of the new Samsung Galaxy S22 Series, which features enhanced Night Mode, Samsung has joined forces with British Fashion Council and fashion’s king of the night, Charles Jeffrey. The result is a film shot by celebrated director Matilda Finn entirely at night, of course, that uncloak its mysteries, all this keeping true to Samsung’s claim ‘Life Opens Up with Galaxy’.

A streaming service would charge to view lesser films than this 23 minute Apple short for Chinese New Year. A father and son struggle to rekindle their relationship, a forgotten, seemingly no-hope village seeks a future, thwarted ambition and make-do determination come together. It’s a heady mix. All caputred on the iPhone 13 Pro, of course.

Another epic from Apple, showing the quality of the iPhone 13Pro through the lens of acclaimed Korean director Park Chan-wook. A surreal tale of a grave robbing undertaker awakening the ghost of an ancient swordsman, the film includes a homage to Korea’s traditional musical storytelling techniques as well as romance, comedy and some very dark themes.

Agency TBWA\Media Arts Lab, Los Angeles Director Meng Zhang

Agency Apple, in-house, Cupertino, California Director Park Chan-Wook

AMAZON ALEXA Alexa’s Body

MERGE MANSION What’s Grandma Hiding?

AXA MOTOR INSURANCE Birders

In his first ever Super Bowl ad, Michael B Jordan stars as a fantasy Alexa voice assistant. As an executive team discuss the new model, one team member imagines life with Mr Jordan as her ‘assistant’ always at her side awaiting instructions – even in the bath. It’s all part of a campaign to show how Amazon has developed a ‘sexy new model’ for Alexa. We doubt anything thing could quite live up to this fantasy … but it’s a lot of fun.

This is from a series promoting mobile puzzle game Merge Mansion, and features Oscar winning actress Kathy Bates as the grandmother.

When the granddaughter offers a hand raking up the leaves she’s sent to a garage lined with hundreds of dangerous looking knives. She returns and says ‘so many knives’ to which the classic reply from Kathy is ‘so little time’. Brilliant.

Somewhat reluctantly, a grandfather takes care of his granddaughter for a day. It doesn’t go well.

But over a series of further visits, the pair build a closer and closer relationship based on bird watching. It’s an occasionally moving film that quietly but convincingly makes its point. We won’t spoil the end for you – you can watch the film online – but the slogan ‘Stay focussed on what matters’ has a real power to it when the grandfather’s car is badly damaged.

Agency Mother, London Director Matilda Finn

Agency Lucky Generals, London Creative Direction Danny Brooke-Taylor Art Direction Lizzie Moore

Production Biscuit Filmworks

Copywriter George Allen Director Wayne McClammy Production Hungryman LA

Agency Wieden + Kennedy, Portland Creative Direction Jason Kreher, Matt Sorrell, Katie Willis

Art Direction Liam McKay Copywriter Will Curtis Director Jim Jenkins Production O Positive

Agency Publicis Conseil, Paris Creative Direction Steve O’Leary Art Direction Jean-Marc Tramoni Vol 1/2022

Copywriter Marc Rosier Director Sean Meehan Production La Superette 144–145

FILM

HEINEKEN Non-Alcohol

TROPICANA Non-Alcohol

BUDWEISER A Clydesdale’s Journey

Scored by a playful cover of Stevie Wonder’s ‘Superstition’, this ad spot promoting Heineken 0.0 shows the prominence of alcohol in social occasions throughout history. From Viking gettogethers to 1920’s parties, drinking has always made teetotallers face social exclusion. With Heineken’s new non-alcoholic alternative, now you can cheers with no alcohol.

‘Just Another Day’ is a two minute spot that revolves around several extreme disasters. The comical outcome of this is that no matter what catastrophe people may face, a welcoming glass of Tropicana is always at hand. Part of the ‘Sip Your Sunshine’ campaign.

The minute-long commercial directed by Chloé Zhao, the Academy Award-winning director of ‘Nomadland’, follows the iconic Budweiser horse’s recovery after a leg injury from jumping over a fence. Under the watch of Budweiser’s trusty retriever, when spring arrives the Clydesdale rides again. Because, ‘Down never means out’.

Agency Publicis, Milan, Italy Creative Direction Bruno Bertelli Art Direction Alex Eftimie

Copywriter Ruxandra Drilea Director Rodrigo Saavedra Production Hobby Film

Agency Cramer-Krasselt, Chicago Creative Direction G. Andrew Meyer Art Direction Kari Grundman

Copywriter Sheila Eastman Director Nick Ball Production MJZ

Agency VaynerMedia, New York Creative Direction Robert Lenois, Brian Steele

Art Direction Luke Ulery, Kevin O’Connell Director Chloé Zhao Production Superprime Films

CORONA SUNBREW Sunshine, Anytime

QUORN Tasty Resolutions

Juan Cabral directs this gently stunning visual treat promoting Corona’s 0% alcohol, Sunbrew. Beautiful beaches, intricate models, stop-motion animation and lots and lots of sun. That’s the real point, because Sunbrew contains 30 percentof the daily vitamin D needed by a Canadian during the sunlight limited months of winter. (It was launched in Canada, by the way.) Any excuse for a drink. Even a non-alcoholic one.

A loveable, sparkly dressed, meat loving wrestler makes a tasty new year’s resultion to eat more healthily. He also resolves to fake less injuries and rip off his shirt less often at home. It’s all part of Quorn’s Helping the Planet One Bite at a Time campaign. And who are we to argue with these sentiments. Light entertainment with a solid point behind it.

Agency David The Agency, Miami Creative Direction Jean Zamprogno, Rafael Donato, Edgard Gianesi, Joana Plautz, Fernando Pellizzaro Lürzer’s Archive

Art Direction JoseJoao Viegas, Sera Takata, Alexandre Smissen, Rafael Bornacina Copywriter Rafael Bornacina, Jared Schermer, Lucas Silva

Director Juan Cabral Production MJZ / Labhouse

Agency adam&eveDDB, London

Director Sam Pilling Production Pulse Films

ANCHOR Butter the food. Butter the mood.

SKINNY POP It’s a whole bag kinda night

KÄRCHER Bring back the Wow

Did you know slidey-ness was a ‘thing’? Well it is now in the slip, slidey, all-over-the-place world of Anchor butter. This colourful, friendly, jolly place where everything’s moving around is clearly aimed at the most mass of mass-markets.

But there’s nothing wrong with that. Or this cute commercial.

It’s kinda fun too. Bags of content in this hip hop soundtracked commercial for big bags of popcorn. Dancing, singing, great outfits, silly setups (like a bath full of popcorn) and above all else – bags of energy. Who doesn’t have ‘whole bag kinda nights’? We know we do.

Who knew vacuum cleaners could be so cool?

This social media series for Karcher turns household cleaning into mini art movies. And certainly gives the brand a WOW factor.

Agency Engine Creative, Northampton, United Kingdom Creative Direction Billy Faithful, Steve Hawthorne

Director Joseph Mann Production Blink Ink

Agency 360i, New York Creative Direction Devon Hong

Director Kimberley Production Scheme Engine Stuckwisch

Agency Antoni_boost, Berlin Creative Direction Kirsten Frenz Art Direction Maria Rojo Salazar

Copywriter Alex Petrache Director Ruben Riermeier

ARIEL INDIA #ShareTheLoad

VIRGIN Media Skater Girl

HEWLETT PACKARD Printing Trees

Why is it easier for men to divide household responsibilities with each other, but not with their wives? 83% of women feel that men don’t see women as equasl when it comes to housework.

Continuing the conversation on equality within households, Ariel launches the 5th edition of its campaign to urge men to drop their biases.

Because when we #SeeEqual, we #ShareTheLoad.

‘Skatergirl’ celebrates the power of connectivity in forging new relationships by telling the story of Aamira, a shy young skater befriended by a local crew. The focus is her journey from being an outsider to becoming part of a group,. Her initial tumble proves to be the perfect icebreaker to gain acceptance from the skateboarding community.

In October 2021, HP committed to planting one million acres (400,000 hectares) of forest in recognition of the fact that printing has a less than enviable reputation for sustainability. Even this production – a beautifully crafted homage to sustainability and growth – had its carbon footprint offset by the planting of 40 trees in the Amazon.

Agency BBDO India, Mumbai Creative Direction Josy Paul, Hemant Shringy, Balakrishna Gajelli

Photographer Joe Giacomet Director Shimit Amin Production Ransom

Agency adam&eveDDB, London Creative Direction Tim Vance, Paul Knott Art Direction Xander Hart

Copywriter Edward Usher Director Fridman Sisters Production Stink Films

Vol 1/2022

Agency Publicis Conseil, Paris Creative Direction Steve O’Leary Art Direction Jean-Marc Tramoni

Copywriter Marc Rosier Director Sean Meehan Production La Superette

146–147

FILM

THE NEW YORK TIMES Independent Journalism for an Independent Life

BBC Belongs to all of us

BBC Winter Olympics

Droga5’s latest spots for The New York Times use newspaper headlines to reflect the rhythm of a subscriber’s life to their reading history. Each advert follows one reader – Jordan, Vera, Becky, Lianna and Yassmin – their singular lives and interests are revealed through what they read.

By shifting the lens onto audiences they show the ‘personal impact’ of journalism.

A celebratory video reminding people of the BBC’s importance, and the ethos at its heart.

Extracts from news bulletins and programmes, from Alan Partridge to Planet Earth and Strictly Come Dancing, all cut together seamlessly to form a singular message.

‘Extreme by Nature’ takes the form of a mixedmedia animation created in partnership with BBC Creative and Blinkink. It combines an array of in-camera effects, 3D printed frames and stopmotion animation to bring the frozen backdrop of the event home.

Agency BBC Creative, Manchester Creative Direction Chris Vernon

Agency BBC Creative, Manchester Creative Direction James Cross, Tim Jones Art Direction Reuben Dangoor

Agency Droga5, New York Creative Direction Tim Gordon, Laurie Howell, Toby Treyer-Evans

Art Direction Inna Kofmann, Jessica Pester Copywriter Nico Baumann, Sara Muchnick Director Cliff Lewis

Director Sam Rice Edwards Production Academy Films

BBC Welcome to their world

NETFLIX #netflixforall

From carnivorous underwater life forms, to humanoid desert cacti, this trailer for ‘The Green Planet’ TV series uses ground-breaking camera technology to explore the interconnected and hidden world of plants. We are guided on this journey by Sir David Attenborough.

A family is checking the suitability of a potential bride for their son. As the interrogation falters, someone asks what she watches on Netflix. She reels off a list of highly suitable Indian titles that impress the family, but then whispers to the increasingly disappointed suitor that she really watches Narcos, The Heist and, yes, Squid Game. Sounds rather dull now that it’s written down. But it isn’t. It’s charming, warm, nicely shot and rather beautifully acted.

Agency BBC Creative, Manchester Art Direction Reuben Dangoor

Agency Creativeland Asia, Mumbai Creative Direction Aneesh Ayyappan, Shyam Nair

Lürzer’s Archive

Copywriter Stuart Gittings Production BBC Creative

Art Direction Vaishali Mahajan Copywriter Gurdiksha Kaur, Isha Nandi

Director Vaishali Mahajan Production Creativeland Asia

Copywriter Stuart Gittings Director Balazs Simon Production Blinkink

O2 Telefonica Germany

SPECSAVERS Canada

STENDAHLS The Hypnotic Cinema

We are invited into the habitats of the building’s residents from the point of view of a Pizza deliver person, who has to visit several apartments before finding ‘Alex’ and delivering their pizza.

We see how residents of different ages and demographics use the internet: streaming, working, dancing to online radio, uploading videos and much more, demonstrating how everything is possible with O2’s high-speed internet.

The campaign aims to charm Canadians with the brand’s signature wit while emphasizing the company’s purpose of changing lives through better sight. The optometry leader introduces itself to Canadians with signature wit and captivating creative bringing to life the company’s promise of better eyecare for all in a multichannel campaign.

We are struggling to describe this film. Trippy, mind-bending, just plain weird all spring to mind. The background is that, as part of the Gothenburg Film Festival, organisers aimed to disrupt the cinema experience by performing ‘mass’ hypnotism on audiences. We have no idea whether this worked … but in a strange hypnotic way, the film does.

Agency The Agency, Specsavers, in-house, Guernsey Creative Direction Shishir Patel Art Direction Jack Finn

Agency Forsmann & Bodenfors, Gothenburg, Sweden Art Direction Alexander Skoglund

Agency Serviceplan Bubble, Hamburg; Neverest, Hamburg Creative Direction Daniel Steller, Pavel Bondarenko

Director Rodrigo Saavedra Production REKORDER

Copywriter James Hearn Director Matt Piedmont Production Prettybird

ELVIE Smart Bodies

JR EAST JAPAN Shinkansen Year 2022

‘Smart Bodies’ aims to bring to life the benefits of Elvie’s tech for women’s bodies – and spotlight the amazing biological complexity of women, beyond their aesthetic value. Eva Lazarus, a multi-genre artist and breastfeeding mother, takes centre stage to perform Elvie’s new anthem, championing the smartness of women’s bodies.

Japan is famous for its bullet trains and 2022 is the Shinkansen Year, so this amazing motion design was created to celebrate it. You can feel the speed, modernity and diversity of Japan and the color keys match the actual colors of the trains.

Agency Mother, London Director Olivia Rose Production Mother Studios

Creative Direction Hiroki Yamaguchi Art Direction Keisuke Asada Copywriter Hiroki Yamaguchi

Director Takcom Production TheProducers

Vol 1/2022

Copywriter Mikael Andersson Director John Boisen, Björn Fävremark Production Is This It

AUSTRIAN FEDERAL MINISTRY FOR CLIMATE PROTECTION What’s that Lurking in the Basement?

Old oil, gas and coal boilers/furnaces apparently lurk in too many Austrian basements. So in this Renee Zhan film a heavy metal soundtrack, liveaction puppetry, animation and even humour combine to conjure up the climate, health and financial cost of these malevolent monsters from the past.

Agency Jung Von Matt, Vienna Creative Direction Werner Singer, Andreas Kadenbach Art Direction Kristina Mac

Copywriter Franziska Brunner Director Renee Zhan Production BlinkInk

148–149

FILM

ARSENAL No more red

NIKE NYC Own The Floor

NFL Bring Down the House

In a bid to address the growing problem of knife-crime in London, Arsenal FC swapped their famous blood red strip for an all white one from sponsor Adidas. As part of the campaign, Idris Elba stars in a hard-hitting film showing bleak city scenes, gang life and the hopelessness of life for many youths who feel left behind. Powerful (and hopeful) stuff.

Instead of Just do it, this is Just own it. Own the freedom and self-expression of dance in this exhilarating ride across a gritty NYC in the company of dancers who use their less than glamorous city world as a joyous expression of freedom. Just watch it … is our view.

Blending real world puppetry and human physicality with proprietary compositing technology‚ the spot is both inclusive and emblematic of football’s expansive influence on American culture- Featuring a young brother/ sister duo, the SFX-heavy spot is centered around the siblings’ experience with the NFL’s past (represented by a variety of pint-size puppets of famous football players) and its present.

Agency Iris, London Creative Direction Rachid Ahouiyek, Henry Scotland, Grant Hunter

Director Tom Day Production Outsider

Agency Nike NYC, inhouse, New York Creative Direction Wyatt Angelo, Carlo Michelangelo Lutto, Nathan Skinner

Director Ben Dean Production Freenjoy Producers Ben Piety, Nathan Scherrer

Agency 72andSunny, Los Angeles Creative Direction Glenn Cole, Zach Hilder, Nate Virnig

Art Direction Chris Ruh Copywriter Garrett Radford Director Peter Berg Production Film 47

FTX Don’t Miss Out

CAR CRASH Flavored Chips

AIR BNB Strangers

In the commercial for cryptocurrency exchange FTX famously crotchety comedian Larry David mocks humanity’s great innovations. The wheel, he declares, is ‘a miss.’ The light bulb ‘stinks.’

And, finally he he tries to tear up the Declaration of Independence while hollering about the ridiculousness of democracy. The commercial closes with Mr. David rejecting FTX, followed by a warning: ‘Don’t be like Larry. Don’t miss out on the next big thing.’

Car crash flavour? To persuade cannabis users that driving while high was dangerous, this Quebec roadsafety campaign created these unappetising chips… for real. The aftermath of a car crash apparently smells/tastes like a mix of blood and smoke and burning tires.

The campaign was an enormous success.

Whether they’ll become a regular on store shelves is another question though.

The tagline to this gorgeously made film is ‘Strangers that aren’t strange’. It’s designed to recruit more hosts. And we challenge anyone not to fall in love with the shaggy bigfoot-like creatures arriving at, and enjoying, this AirBnB. Checking out the record collection, they chose the perfect Kevin Morby track, ‘Beautiful Strangers’. And they are.

Agency DentsuMB, New York Creative Direction Menno Kluin, Jason Stefanik, Andrew Hunter Lürzer’s Archive

Art Direction Christian Maine De Biran Copywriter Daniel Freeda Director Jeff Schaffer

Agency Lg2, Quebec Creative Direction Luc Du Sault Art Direction Vincent Bernard, Nicolas Poulin

Director Nicolas Brassard Asselin Production Nova Film

Creative Direction Scott Trattner, Eric Grunbaum Art Direction Chris Hutchinson

Copywriter Driscoll Reid Director Kim Gehrig Production Somesuch

Digital [152–158] Client Google Agency BBH, New York Creative Direction Rafa Rizuto, Joao Unzer, Mikio Bradley

Art Direction Ezell Brown Production Black Sheep Studios

Vol 1/2022

150–151

INTERVIEW

Client Aeromexico, L[A] 4/2019

How to touch the buttons… and turn on the future Michael Weinzettl chatted with Jessica Apellaniz, Chief Creative Officer at Ogilvy Latam, who also chose her 15 favorite works that make up our Digital section. Jessica is one of very few women in a creative leading role across Latam. An experienced jury member across the main award shows, including Cannes Lions and One Show. She was responsible for winning the first D&AD Pencil for Mexico and has won at Cannes every year since her young days as a creative director.

Jessica arrived at Ogilvy in 2017 and was named CCO for Latin America in 2020, a position that she leads from Mexico. She has been a member of Ogilvy’s Worldwide Creative Council, Women to Watch Mexico and one of the 100 Creative Leaders by Adweek Creative 100.

Her ability to craft tailor-made, multidisciplinary teams for each of her clients is one of her best assets. In fact, that is how she got her first VP position, managing global accounts such as AB-Inbev, American Express and BMW. More recently, at Ogilvy, Jess has done the same with Coca-Cola, BP, Mazda and Aeromexico (Latin America) with unrivaled success.

Jessica started her career as a producer, which helped form her diligent way of working and keen eye for striking work. In fact, she once was a producer for MTV Latam, back in the day when music videos ruled the airwaves.

But all these achievements pale in comparison to her greatest feat of all: being the best mother she can be to Fabiana, her adorable 5-year-old daughter and her newborn baby Romina, while striving to find the elusive work-life balance so often tricky to nail in this dynamic world of creativity.

L[A] Hello Jessica, thanks first of all for selecting work for our Digital section of the magazine. When did you first get interested in advertising?

JA Advertising was not my first choice; I thought I would end up as a producer since I loved problem-solving; I’m a ‘make it happen’ type of person.

I was working at MTV trying to figure out new ways to present the Top 10 TV show, and the director asked me if I had worked at an ad agency before. An opportunity to do so arrived soon after.

Out of curiosity, I applied, and now 20 years later, I can tell you I was not expecting a long-lasting career at that time.

L[A] Tell us about your career path, which has led to becoming CCO at Latam at such an early age.

JA After switching from MTV producer to an agency, I started as a copywriter for a much loved retail brand in Mexico, Palacio

Lürzer’s Archive

‘Erase the Difference’ Client CDC, L[A] 4/2014

Victoria 1.8, Client AB InBev

de Hierro; the brand was famous for its witty headlines. It was a blessing to have such a fantastic start.

The first half of my career, I call them the strategic years – I worked for agencies and brands where strategic creativity was needed. As a reward for my great work, I was sent to the Cannes Lions Festival more than a decade ago, and after that trip, everything changed.

I was truly inspired. The hard work years came after that.

Along with my team, we won the first Lion in Publicis Mexico’s history, and a year after that, the first D&AD Pencil for my country.

That’s how the second half of my career started; some more international awards followed, and then my first international jury.

I love jury duty, I love to learn from other points of view, and it has changed how I think about advertising.

After 13 years at the same agency, I thought I would stay there forever, but a call from Ogilvy changed everything; I always wanted to work there. It was not an easy change, but I loved the challenge; it made me grow.

Ogilvy works as a network, so fortunately, I could contribute to some global briefs. One in particular was unique to me: a hothouse at Ogilvy Chicago. After that project, I got invited to join the Worldwide Creative Council, and I think I’ve never felt so proud of myself before.

The WWCC changed my career – I learn every week from my talented colleagues. I love to help them when I can, and I know I can contribute to a bigger purpose. You can’t parallel that feeling.

A few months after the WWCC call, Joe Sciarrotta and Piyush Pandey made a call I’ll never forget, ‘we want you to be the next Regional CCO’, those words stick in my head. My first reaction was full of fear, but if they believe in me, why shouldn’t I? I started the Regional CCO role a few weeks before the pandemic, so the job description has changed along with the world’s circumstances. I feel I’ve had to switch gears constantly, but I’ve never grown so much.

I’m thankful for the trust and responsibility that Ogilvy has given me, and I put my all into making Latina (as we like to call it) the best network we can be in LATAM.

L[A] Do you hail from Mexico originally? What is advertising like there? Any difference to advertising in other countries?

And how does the general public view the industry? Is there still some glamor attached to the industry?

JA I was born and raised in Mexico.

Creatively Mexico is one of the strongest countries in Latam, but I think we are far away from reaching our full potential. You can breathe creativity on the streets, you can easily say that it is part of our culture, and that’s why for me, it’s a mystery why Mexico is not one of the top countries at festivals. Of course, I have some theories, but that would need another interview.

We are still trying to find our voice as an industry, and I genuinely believe that we should be closer to the top. We are fragmented. In Mexico City alone, we have 400 agencies. That level of competition has erased the feeling of glamor. Fortunately, we know how to bring it back at our local awards.

We are hard workers, we work more than 12 hours a day, and when we work with other countries, they are always surprised at how quickly Mexico can make things happen.

L[A] Which of your works do you consider milestones in your career? Which projects proved to be the most satisfying?

JA ‘‘Work for free’ My first Cannes Lions was also the first Lion for Publicis Mexico. It was for an NGO called paraLife.

‘Erase the Difference’ I wanted to win something with one of my most challenging clients, to bring some creative culture to the account; I was not expecting to win the first D&AD Pencil for Mexico.

‘Victoria 1.8’ Besides the many awards it won, we were able to help thousands of Mexicans keep their income during the pandemic. The messages we received from people still fill my heart with warmth.

L[A] Which medium (print, TV, digital) has been overrated?

Which do you enjoy working in the most? Do you agree with the maxim: ‘The Future is Digital’?

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152–153

INTERVIEW

Client Garnier, L[A] 4/2016

Client DIF, L[A] 3/2015

JA Every time you think that one medium is overrated, new fantastic work comes out to destroy your theory. I thought print was dying, then Budweiser Tagwords came out to shut my mouth.

You can say enough of TV manifestos, but every year there’s at least one that moves our hearts.

I would say that new buttons are added to our ‘control panel’ each year. When I started, we had very few buttons – TV, print, radio, OOH. You turn up a couple of them and sales went up – it was that easy. Today we have a thousand options, so pushing the right buttons is getting more complex: social media, adwords, CRM, DCO, podcast, lead generation… and more buttons will keep coming.

So, for me, the future is to learn how to use the control panel and what buttons are needed for each project.

L[A] Since you’re an expert in all things digital, can you explain to me what NFTs are? I keep coming across the term but never fully understand what is meant by it. Can you give examples, and have you been involved in them at all?

JA In a few words: NFT is digital art, you can buy a piece of it, and the price varies depending on how many people want it and how much of it you want. It would be if people bought an original Banksy by pieces in the physical world. I have only been diving into NFTs for ideas’ sake. I’m not investing in them, but it looks interesting to be part of that world.

L[A] Are there any people in advertising that you consider to have been role models, or that you admire in particular?

JA I admire the way Piyush Pandey (Ogilvy Chairman of Global Creative) leads with calm and love. (Ogilvy Deputy Chief Creative Officer) Joe Sciarotta’s hunger and drive helps me keep myself on the right path. And Liz Taylor (Ogilvy Global Chief Creative Officer) helps me believe that I should be where I am and that I could be where she is.

Lürzer’s Archive

L[A] What are your interests outside of the ad business?

JA I’m an architecture fan, it’s my other passion. I designed a restaurant in Oaxaca a few years ago, and now and then some of my friends’ homes. It’s just a hobby, but for every bad day in the advertising world, I find myself recharging, reading, or consuming anything related to the architect’s world.

L[A] How has Covid affected the ad industry in Mexico?

JA Even though Covid is a health crisis, in third world countries Covid feels more like an economic crisis. People were losing jobs, brands were trying to help but didn’t know how. I think very few brands were brave enough to say something, and I take my hat off to the ones that did.

It’s hard to find brave clients who don’t mind being in the spotlight, which worsened during the pandemic. No one wants to lose their job because of a campaign. Don’t get me wrong, I know it’s easier for the agency to be fearless than for our clients, we shall always acknowledge that. Probably that’s another reason why I think the Victoria 1.8 project will always have a special place in my heart.

L[A] Did you find it challenging to think of 15 outstanding digital campaigns?

JA I’ve told you I loved jury duty, and this was as satisfying as that. It was a challenge, but I loved it. I love to choose the stuff I was ‘judging’. I also think the great advertising publishers should give a more prominent voice and space to works beyond English-led campaigns.

It was hard to get great local work from other countries.

For example, there was a brave campaign from Egypt that I saw at Dubai Lynx and I found it. It’s hard to do famous work from countries outside the English world.

DIGITAL

JOHN LEWIS Home Insurance ‘Let Life Happen’

THE NORTH FACE X GUCCI Chapter 1

A little boy dances in his mum’s dress to Stevie Nicks’ Edge of Seventeen in a new John Lewis home insurance advert. After a large number of complaints to the Advertising Standards Authority about the boy wearing a dress and his destructive tendencies, John Lewis pulled the campaign.

Set in the Alps, the collaboration collection between The North Face and Gucci shows, in stills, video and TikTok content, a group of hikers camping by lakes and enjoying an outdoor vacation. The campaign’s atmosphere evokes a feeling of the 70s, when The North Face was a thriving outdoor retailer based in Berkeley, California, next to Creedence Clearwater Revival’s rehearsal studio – whose iconic song ‘Bad Moon Rising’ is featured throughout the video campaign.

[JA] ‘I love when big brands break stereotypes. My generation grew with almost no examples like this in the media, a boy wearing a dress was an impossible idea. And of course, it also has everything you expect from a John Lewis ad – a loveable story, fantastic music, perfect cast.’

Agency adam&eveddb, London Creative Direction Richard Brim, Ben Priest

Art Direction Sian Coole Copywriting Jo Cresswell

Director Dougal Wilson Production Blink

tinyurl.com/tevmmwvr

[JA] ‘Anyone who has worked with two brands doing one single campaign knows collaborations are not an easy task. I found this one a great example of keeping each brand true to itself while mixing with each other. And on top of that, I think the overall aesthetic they achieved felt fresh.’

Creative Direction Allessandro Michele Art Direction Christopher Simmonds

Photographer Daniel Shea

tinyurl.com/43c6j8mn

LIL NAS X Compensation for ‘Montero’ haters

POLICE SCOTLAND Don’t be that guy

To coincide with the release of his studio album ‘Montenero’, Lil Nas X took over billboards throughout Los Angeles with humorous messages that allude to typical law firm advertisements. The billboards asked, ‘Do you hate Lil Nas X?’, ‘Are you single, lonely and unhappy?’, ‘Are you gay?’ and ‘Do you miss the real America?’ – in large black letters, followed by the phrase, ‘You may be eligible for financial compensation!’ The billboards included a QR code and URL that led people to the album pre-saves.

A straight-talking campaign from Police Scotland aims to reduce rape, sexual harassment, and other forms of gendered violence by encouraging men to have honest discussions about male sexual entitlement.

Agency: Stand, Glasgow

[JA] ‘I mean, Lil Nas X is an expert at promoting his music, and this time with just four OOH in LA, his debut album became the hot topic on social media.

I think Lil Nas X could give us some social media master classes.’ tinyurl.com/2bvz83yj

[JA] ‘A so much-needed message that sexual harassment starts before you think it does. Most of the attitudes depicted in the video feel normal for most men, and we need to talk about this openly.’

Agency Stand, Glasgow

Production Forest of Black

tinyurl.com/2p9zttxy

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154–155

DIGITAL

GOOGLE Black Owned Friday

HENNESSY More Is Made By The Many

From beauty products to home goods, this initiative offered over 100 products from 50+ Black-owned businesses featured in #BlackOwnedFriday, a Google initiative to redirect Black Friday sales to support the Black community. Slogan: Search, shop, support Blackowned today and every day.

The video shows a large and diverse group of people gathered around a table, drinking Hennessy V.S.O.P. together. A variety of people from all walks of life are talking, dancing and laughing together.

[JA] ‘An initiative to promote real change, not just a campaign. Kudos for redirecting tons of money towards Black-owned businesses.’

Agency BBH, New York Creative Direction Rafa Rizuto, Joao Unzer, Mikio Bradley

Art Direction Ezell Brown Production Black Sheep Studios

[JA] ‘I love the message. After the last couple of years, we can all agree that we need each other; we need diverse perspectives in a polarized world because there’s not one mindset.’

Agency Droga5, New York Creative Direction Tim Gordon, Felix Richter, Marco Howell, Haywood Watkins III

Art Direction Cara Cechhini Copywriting Mia Rafowitz

Director Sportscar Production Florence

tinyurl.com/5n6behk2

tinyurl.com/5dnyh2u3

HEINZ Sorry for being late

IKEA 3D printed meatball

A funny campaign in less funny times: Heinz apologizes for being 150 years late in offering a pasta sauce in the United Kingdom.

At least it was worth the wait, ‘because nothing so ridiculously good, has come so ridiculously late’.

IKEA’s now making 3D-printed vegan meatballs, and apparently offering them at job interviews for candidates. And the company committed to offer 50% plant-based meals in IKEA restaurants by 2025.

[JA] ‘I will always applaud a brand that dares to say something bad about themselves. Even if it’s a marketing strategy, I don’t care. Saying a negative thing about the brand is not an easy choice.’

Agency Wunderman Thompson, Barcelona Creative Direction Paco Badia, Pipo Virgós, David Caballero, Gloria Hernandez tinyurl.com/2xdct6m2 Lürzer’s Archive

Art Direction Monica Casamor, Carlos Galán, Sergi Boixadera Copywriting Estel Ladra, Albert Xifra

Director Jorge Palomares Stasny Production Oxígeno

[JA] ‘Turning 3D printing into a recruitment campaign is genius. I’m sure this innovation got them the right audience. IKEA is now on the map of those future architects and designers. Well done, IKEA.’ Agency Ingo, Stockholm Creative Direction Björn Stahl Art Direction Johanna Johannson tinyurl.com/mra9yn6w

Copywriting David Lundgren Director Peter Hansson Production FLX Film

AMNESTY INTERNATIONAL Reality Differs – AR Instafilter

STATE FARM Super bowl on TikTok

When Instagram suddenly shows sad reality instead of edited makebelieve worlds, there must be a very important message behind it. On the occasion of World Refugee Day on June 20, a new virtual reality filter by Amnesty International opened the door to a reality that is very different from ours – but unfortunately still just as real.

This year, insurance company State Farm gave up its expensive TV slot during the Super Bowl, calling a TikTok contest instead. Participants had to create an audition tape of sorts, while using the #TeamStateFarm hashtag.

On Super Bowl Sunday, the top three entries were showcased, the top vote gatherer was selected to star in an official State Farm commercial.

[JA] ‘Who would have thought that a simple filter could provoke so much empathy?’

[JA] ‘The amazingly orchestrated campaign, the teasers, the TikTok challenge, the possible cameos coming. It’s an example of great use of the ‘advertising control panel’ we discussed before.’

Agency Warda Network, Austria Creative Direction Jakob Kattner

Agency The Marketing Arm, Dallas

Art Direction Augustin Laudato Copywriting Nicolas Krems, Paul Chiwona, Leo Tischendorf

tinyurl.com/5h2cwzdu

tinyurl.com/3cm9yxfv

HEDVIG It’s just stuff

HUMAN RIGHTS CAMPAIGN The reality flag

Swedish neo insurance company Hedvig is trying to change the concept of insurance to become fast. Norwegian directors Matias & Mathias took that concept as far as it can go with a mockumentary on insurance addicts.

In this series of short, insightful ads, Swedish insurance company Hedvig wants us to enjoy life more and worry less about ‘things’.

This redesigned American flag reveals that no less than 29 states deny basic freedoms to LGBTQ+ people. The ‘The Reality Flag’ campaign aims to change that, and includes PSAs shot by Emmy Award-winning director and producer Joey Soloway.

‘I’ve always thought of insurance as a category. This is a new approach to insurance, a fantastic insight for the category.’

Agency Bacon, Stockholm Creative Direction Evelina Rönnung, Petter Swanberg

Director Matias & Mathias, Rebecca Lundin

‘Data visualization at its best. A simple way to portray how far many are from fundamental freedoms.’

Agency WPP Group (VMLY&R, New York, BCW, New York, Wavemaker, London, Hogarth, London) tinyurl.com/ys5ehy69

tinyurl.com/mrk7m7mm

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156–157

KIA Robo Dogs

SHARJAH BOOK AUTHORITY If you’re into something, you’re into books.

Kia gives up 10,000 robo dogs for adoption as NFTs to shine a spotlight on shelter animals seeking adoption and to save real animals. This integrated campaign includes a partnership with the Petfinder Foundation.

Into Books is redefining readership through a global awareness campaign targeted at the diversity of human interests. We want to prove that no matter what you’re into, you’re into books. No one is born with a book in their hands – but find a book that means something to you, and you’ll be hooked.

[JA] ‘We talked earlier about NFTs – I think this one is an excellent example of how a brand can make a mark in the NFT world. And I’ll give KIA some extra points for actually helping animals in need.’

Agency David & Goliath, Los Angeles Creative Direction Ben Purcell, Mark Monteiro

Art Direction Frauke Tiemann, Robert Casillas, Bennett Austin

Copywriting Mark Koelfgen, Courtney Pulver, Nick Micale Photographer Eric Schmidt

tinyurl.com/262d9eac

Cheetos campaign inspired by the not-so-serious theory that Cheetle – the powdery residue that sticks to your fingers when you eat a bag of Cheetos – is the inspiration for hands-free technology. To bring that theory to life, the snack brand created the Cheetos Hands-Free House, an immersive experience that imagines what the world would look like if people could live their best lives hands-free.

[JA] ‘An iconic truth about the product turns out to be the muse for a great experiential marketing piece. The film, the site, and the house made Cheetos relevant at SXSW.’

tinyurl.com/5ecsh6x7 tinyurl.com/ye268tpa Lürzer’s Archive

Agency National Network Communications, Sharjah, VAE Creative Direction Mohamed Nader tinyurl.com/4v7aeb6k

CHEETOS Hands-Free House

Agency Goodby Silverstein & Partners, San Francisco

[JA] ‘I felt jealous about this one. They found a true human insight and we can all relate – it’s a fresh way to make reading interesting for everyone.’

Creative Direction Margaret Johnson, Stefan Copiz, Eamonn Dixon Art Direction Fabio Santoro

Copywriting Pedro Furtado Director Aaron Stoller Production Biscuit Filmworks

Art Direction Salma Taimour Photographer Omar Ehab Production Good People

Lürzer’s Archive Special Report

AUTO22 the new drivers behind automotive creativity

Oliver Sold Fotodesign Cars and Stillife

oliversold.com

AUTOMOTIVE SPECIAL

Words Maeve O’Sullivan

AUTO22 ‘Dispense with a horse’. The benefits of buying an automobile were relatively easy to communicate back in 1898 when The Winston Motor Carriage Company ran the first automotive print ad. Placing it inside the pages of Scientific American put it right in front of the affluent, early adopter audience the brand would have needed.

In the AUTO22 special you can enjoy a selection of great automotive advertising of the last ten years or so. All listed films can be watched, and more work viewed online within our archive. Just search ‘AUTO22’ at luerzersarchive.com

If it was to run today, that headline would likely read, ‘Dispense with fuel’. Global electric vehicle (EV) ownership numbers may still be relatively low but they are growing fast.

If the last few years are anything to go by, EV will dominate advertising messages for a long time to come.

The way automotive brands are responding to the rapid adoption of EV shows that we’re at a crossroads of technological advancement and consumer expectations – we care about how the cars we buy fit into our lives, not how fast they can get us from point A to point B. And we want to engage with the brands behind them on our own terms.

Although the smart brands know that it’s not enough to shout about speed and performance anymore, far too many spots continue to intrude on our time with the yawn-inducing sight of gleaming cars charging through rugged landscapes. And they are everywhere – on our screens, on billboards and in print.

This collection of work looks past the clutter to show a mix of highly crafted recent work and older examples from the last ten years that indicates a trend in the making.

Along with a look at where brands are connecting with their customers these days, we’ve spotlighted a few trends – most of which interconnect with each other, of course:

Heritage Lifestyle Electric Technology Experiences Above all, we want to inspire you, make you laugh – and maybe a little bit jealous – of some of the most creative automotive communications in the world.

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Represented by: Rockenfeller & Göbels (Europe/Asia) Art Department (USA) Cream Paris (France) Superstudio (Scandinavia)

@PatrikJohall

DIRECTOR

| PHOTOGRAPHER

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

gill@harniman.com

| harniman.com | instagram @harnimanphoto

AUTOMOTIVE SPECIAL

Heritage brands: Remember us?

The car brands we grew up with have risked facing irrelevance over the last couple of decades, as more innovative challengers with sexier consumer appeal and better technology have come onto the scene. These next gen car brands have made many of the old guard seem out of touch and irrelevant to the Millennial and growing Gen Z car buyer market.

With some of these heritage brands over 100 years old by now, they have something that the new generation can’t match – relationships. Over the last few years, a few automakers have reminded us of the important roles these brands have played in our lives.

CHEVROLET Then and Now 2012 There’s no doubt that cars play a special role in the lives of US consumers, something Chevrolet got straight to the heart of with its Centennial campaign. Then & Now takes us through classic American landscapes and scenes that include a Chevy. It leans hard on nostalgia without becoming too saccharine, showing us the good old days that we enjoyed and are – hopefully – still living through.

MERCEDES-BENZ The Journey That Changed Everything 2019 A reminder of the Mercedes-Benz’ world-changing technological roots, this epic feature film-style spot tells the overlooked story of Bertha Benz’ 1888 long distance trip and ‘The Journey That Changed Everything’. The film helps us imagine the amazement and terror villagers must have felt upon seeing a car drive across the landscape for the first time and it celebrates the determination and spirit of the people behind the brand.

Agency Goodby Silverstein & Partners, San Francisco

Agency Antoni Garage, Berlin

Creative Direction Jamie Barrett Art Direction Stefan Copiz Copywriter Tyler McKeller

Director Lance Acord Production Park Pictures

BMW History of Horsepower 2019 BMW may not have a century-old tradition in China but a ‘collage animation’ released online in 2021 (Final Frontier/BlinkMyBrain) celebrates BMW’s history in a decidedly non-traditional way. Aimed squarely at young, Chinese car buyers, it was promoted on instant messaging websites, WeChat and Weibo, drawing on Chinese artistic tradition to tell a modern automotive story.

Agency Fractalist China , Beijing

Lürzer’s Archive

Director Ariel Costa

Production Final Frontier

Creative Direction Alice Bottaro Copywriter Andre Santa Cruz

Director Sebastian Strasser Production ANORAK Film

FIAT Print Campaign 2016

Agency Leo Burnett, Frankfurt am Main, Germany Creative Direction Joerg Hoffmann, Daniela Ewald, Jörg Hoffmann

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Art Direction Hugo Moura Copywriter Andreas Daum Photographer Miro Minarovich

172–173

AUTOMOTIVE SPECIAL

Lifestyle

Sorry Boomers and Gen X, the growth of the auto industry lies with Millennials and Gen Z, according to some reports, and car brands are paying close attention. Not only do they embrace technology, they are more interested in how a car will fit their lifestyle. This has led to a series of campaigns that want you to know what the brand stands for and how it fits into your life, not the other way around.

MERCEDES BENZ Grow up 2017 With print and social media campaign photography that felt more like a fashion shoot, and films featuring rapper A$AP Rocky, Mercedes Benz wanted to shake off its staid image with this multi-channel campaign and appeal to a new generation of customers approaching adulthood.

Agency Antoni, Berlin Creative Direction Martin Pross, Matthias Schmidt, Veit Moeller

Art Direction Sol Oh Copywriter Sebastian Lyman

Photographer Alex Rank, Alice Moitié

POLESTAR No compromises 2022 The ominous soundtrack and sleek visuals are one thing but it’s all in the copy for this Superbowl campaign from challenger brand Polestar.

Promising ‘no dirty secrets’, ‘no conquering Mars’ and ‘no greenwashing’, among other bold statements, Polestar is taking a swipe at heritage and challenger brands, aiming to attract consumers looking for something new. from a car brand.

Agency Forsman & Bodenfors, Gothenburg, Sweden Creative Direction Samuel Åkesson

Art Direction Sophia Lindholm, Julia Holtback Yeter Copywriter Fabian Starck, Chris Cornwall

Director Christian Larson Production BR•F

LYNK & CO This is not a car 2021 Lynk & Co is a Chinese-Swedish car brand that has been designed from the ground up to appeal to a new generation of drivers, from shareable cars to city center ‘clubs’ springing up around Europe, in place of traditional dealerships. This campaign points to the difference that could await a Lynk & Co owner.

Agency HALAL, Amsterdam Creative Direction Robin van der Kaa

Lürzer’s Archive

Art Direction Andrew Watson Copywriter Richard Goredecky

Director Caroline Koning Production HALAL

SMART Print Campaign 2014

Agency BBDO, Toronto Creative Direction Carlos Moreno, Peter Ignazi

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Art Direction Spencer Dingle Copywriter Jordan Hamer Photographer Shanghoon

174–175

AUTOMOTIVE SPECIAL

Electric

Quite possibly the most famous automotive brand in the world right now doesn’t pay for any advertising. Why would you when a single tweet from your company’s founder can reach 74 million people and will be dissected by the world’s media? Tesla has represented the cutting edge of electric vehicles (EV) in the minds of consumers for years but there’s only so much longer that it can hold that ground. Heritage brands are catching up and new challenger brands are appearing that are transforming the market for good.

BMW Zeus & Hera 2022 The sight of Greek gods Zeus and Hera chilling out in a retirement community feels like a departure, both for EV and luxury car advertising.

The Super Bowl spot demonstrates just how mainstream and positively suburban electric is becoming, and how luxury brands are trying to appeal to a much broader audience than they might have in the past.

Agency Art Direction Director Goodby Silverstein Michael Rodriguez Bryan Buckley & Partners, Copywriter Production San Francisco Sam Dworkin Hungry Man Creative Direction Matt Edwards, Wes Phelan

BMW

Something’s Brewing 2022 Arnold Schwarzenegger (as Zeus) delivers just two lines but a long mean look to an innocent barista in this teaser spot for the launch of the BMW... but the BMW what? You had to wait a few days for the Super Bowl spot above to discover that the BMW iX is ‘the ultimate electric driving machine’. Heritage plus electric topicality combine in the figure of a sparky ageing god.

Agency Goodby Silverstein & Partners, San Francisco

Creative Direction Rich Silverstein, Wesley Phelan, Matthew Edwards

Art Direction Kevin Leung Copywriter Carlos Rangel

FORMULA E Change Accelerated 2021 Formula E exists to accelerate sustainable human progress through the power of electric racing. The only sport certified net zero carbon since inception, Formula E was founded to counteract climate change by accelerating the adoption of electric vehicles. This spot aims to capture this unique sport’s ability to excite next generation sports fans by combining exciting on-track action with its role as a catalyst for positive change around the world.

Agency Uncommon Creative Studio, London

Director Marcus Söderlund Production Academy Films

DAIMLER / MERCEDES BENZ

Invisible Car 2020 This 2020 film is part of the long running Invisible Car campaign marking various Mercedes EV developments. Starting back in 2012 with fuel cell innovation, this more recent film announces the brands commitment to a full range of electric only cars. In effect, making their impact on the planet ‘invisible’.

Agency Merkley + Partners, New York Creative Direction Gabi Hastings

Lürzer’s Archive

Director Vico Sharabani Production The Artery

NISSAN FORMULA E Print Campaign 2019 The future of racing is here Formula E has rapidly grown in popularity in the seven years since its founding. What better way to erase concerns about performance in the minds of consumers while also grabbing the attention of the world’s speed freaks? This campaign announcing the arrival of Formula E in Brooklyn communicates what’s coming simply and effectively.

See more of the campaign at luerzersarchive.com

Agency TBWA\Chiat\Day, New York Creative Direction Chris Beresford-Hill, Al Merry

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Art Direction Pierrick Jegou Copywriter Aste Gutierrez Illustrator Bastien Grisolet

176–177

AUTOMOTIVE SPECIAL

Technology

The average driver wants their car to get them from A to B as quickly and efficiently as possible. Who cares about the detail?

But when the detail is the main point of difference between car models and has cost potentially millions in R&D to develop, it means a whole lot to automakers. How better to communicate sophisticated technology than through drama and humor?

Some of the most memorable ads of the last ten years have informed us about car navigation, precision steering and body control. And we’re still watching them.

HONDA Sound of Honda 2014 By recreating in sound and light the late Ayrton Senna’s world recordsetting fastest Formula 1 lap, Sound of Honda not only reminds us of Honda’s high performance heritage, it communicates a data-driven car navigation system that any driver would value.

Agency Dentsu, Tokyo Creative Direction Kaoru Sugano

Production Rhizomatiks, TamaTechLab, Heartfast, Metaphor, Shipoo

VOLVO TRUCKS Epic Split feat. Van Damme 2013 How many truck commercials do you remember watching before Jean Claude van Damme performed the splits between two Volvo trucks?

Exactly.

Agency Forsman & Bodenfors, Gothenburg, Sweden Art Direction Anders Eklind, Sophia Lindholm

Lürzer’s Archive

Copywriter Martin Ringqvist, Björn Engström Director Filip Nilsson, Andreas Nilsson, Jamie Rafn, Henry Alex Rubin

Production Smuggler, Folke

AUDI Clowns 2017 Who hasn’t thought they were surrounded by clowns while out on the road? This thought is beautifully brought to life by the late, great Ringan Ledwidge. An Audi driver effortlessly maneuvers through scenes most of us will have experienced at some point. Instead of road rage, maybe this spot can help us see the lighter side.

Agency Bartle Bogle Hegarty (BBH), London Creative Direction Ian Heartfield

Art Direction Mikael Alcock Copywriter Doug Fridlund

Director Ringan Ledwidge Production Rattling Stick

VOLKSWAGEN AUSTRALIA Print Campaign 2021

Agency DDB, Sydney Creative Direction Tommy Cehak, Matt Chandler, Tim Woolford

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Art Direction Sam Raftl Copywriter Tom Lawrence Illustrator Matt Ryan Tobin

178–179

AUTOMOTIVE SPECIAL

Experiences

Surely the best advertisement for a car is to drive it? Whether it’s unexpected brand collaborations, turning cars into games controllers or even making great use of wifi network copy, there are more opportunities than ever to convince customers to give up their precious time and try out the latest model.

VOLVO/UBER All Star Restaurant 2017 Aiming to prove that the way to our hearts really is through our stomachs, Volvo and Uber Eats took people on a tour of Tokyo in an XC90 Excellence SUV while dining on takeout designed by celebrity chef Yukio Hattori.

Agency Dentsu, Tokyo Creative Direction Akira Suzuki

Art Direction Daisaku Maeda Copywriter Keisuke Nishino

AUDI The Wifi Jack 2016 For many of us, the first thing we do when we arrive at an event is pull out our cell phones to search for free networks. At the New York Auto Show, Audi was able to connect with almost every visitor who might care about their new cars’ connectivity by offering free wifi. Each network name highlighted a particular aspect of the new Audi A4’s systems and even took a swipe at its BMW competitor.

Agency MUH-TAY-ZIK | HOF-FER, San Francisco

Lürzer’s Archive

Creative Direction John Matejczyk Copywriter Cory Conrad

Director Francesco Saviano Digital Artist Noah Aust

SMART FORTWO Smart EBALL 2012 Smart’s playful approach to advertising goes back to its 90s roots and this campaign is no different. EBALL gave Frankfurt Auto Show visitors the opportunity to test out the quality of the electric smart fortwo’s acceleration by turning the cars into games controllers.

Agency BBDO Proximity, Berlin, ANR BBDO, Stockholm

Creative Direction David Mously, Jan Harbeck, Ton Hollander, Jens Ringena, Wolfgang Schneider Art Direction Daniel Schweinzer, Sebastian Forsmann, Tomas Tulinius

Copywriter Lukas Liske Production Gahrens + Battermann

VOLVO The E.V.A. Initiative 2019 Have you ever noticed that crash test dummies are always male? Taking that fact into consideration, Volvo Cars and its team has been compiling crash data since the 70s to take a closer look at what really happens during a collision – irrespective of size, gender, or body shape. This has now enabled it to design cars that are equally safe for both men and women.

[Darre van Dijk] “An amazing idea that crash test dummies are actually built in male versions only. And as Volvo always puts safety first, it is an even better idea that they are the ones disrupting this test to make car safety better – and the fact that they are giving the results to the competition makes it an even better case. That really is trying to make the world a better place.”

Agency Forsman & Bodenfors, Gothenburg, Sweden Art Direction Leo Dahlin, Sophia Lindholm, Adam Ulvegärde, Karl Risenfors Copywriter Jacob Nelson, Hampus Elfström

Director Laerke Herthoni Production New Land

tinyurl.com/36avt8az LEXUS Unbeaten Paths 2019 For test drives in the Lexus UX, which was specially designed for urban traffic, a customised route was suggested to drivers based on their Facebook profiles, taking them on a journey to hidden locations in Hong Kong while creating momentum for small businesses.

Agency TBWA, Hong Kong Creative Direction Jerome Ooi

Art Direction Yvonne Ng, Minji Pyen

Director Mike Choy

TOYOTA Prius! Parts Characters 2016 Anime has a status in Japan and across the globe that is worth billions. Its popularity is admirable and provides the world with a relatable image of the Japanese. Like in this “Impossible Girls” campaign for Toyota’s new Prius, in which components and functions are anthropomorphised as sometimes cute, sometimes mysterious anime characters Agency Dentsu, Tokyo Creative Direction Yusuke Shimano

Art Direction Yoshiaki Sakashita, Yusuke Koyanagi

Copywriter Yusuke Shimano, Takuya Fujita, Nanako Tani

tinyurl.com/2p94n5z7 MERCEDES BENZ ESPANA / SMART Chameleon 2017 A colour-neutral Smart car was placed in the window of a large car dealer in Madrid. At the same time, technology was installed that could detect the colours of the clothes of passers-by, whereupon the car automatically adjusted its colour.

Agency Contrapunto BBDO, Madrid Creative Direction Gorka Fernández Iriso, Carlos Jorge

Art Direction Gorka Fernández Iriso, Aurora Hidalgo, Raúl López

Director Marta Pérez-Antelo Production Cubensis

tinyurl.com/3wz2zats

tinyurl.com/ybpwur9v Vol 1/2022

180–181

Frederic Schlosser www.fredericschlosser.de mail@fredericschlosser.de +49 (0) 176 70 67 42 53

Michael Alan Ross | 917–864–0380 | michaelalanross.com

Y O U R R I D E T O WOR LD S U NS EEN

XV IS IONIMAGIN G.COM

AUTOMOTIVE SPECIAL

LAND ROVER Print Campaign 2013

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Young & Rubicam (Y&R), Dubai Creative Direction Kalpesh Patankar, Shahir Zag

Art Direction Kalpesh Patankar Copywriter Shahir Zag Photographer James Day

HYUNDAI Print Campaign 2021

See more of the campaign at luerzersarchive.com

Agency Innocean Worldwide Europe, Frankfurt am Main Creative Direction Gabriel Mattar, Ricardo Wolff, Alan Dindo Digital Artist B612 Studio

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192–193

AUTOMOTIVE SPECIAL

MERCEDES-BENZ Fable

VW VOLKSWAGEN The Force

2015

A slightly different take on the fable of the hare and the tortoise: the new Mercedes AMG-GT enables the tortoise to defeat the over-confident hare by a country mile.

Agency Merkley + Partners, New York Creative Direction Andy Hirsch

HYUNDAI Life Is In The Air

A little Darth Vader is vainly attempting to move things by means of the “force.” In the end, only the VW appears to respond – yet could that, perhaps, be due to the remote control Dad is holding?

Art Direction Kirk Mosel Copywriter Chris Landi

Director Robert Stromberg Production Jake Scott

2021

DAIMLER / MERCEDES BENZ Enjoy Electric 2020

Agency Deutsch, Los Angeles Art Direction Michael Kadin, Ryan McLaughlin, Craig Melchiano

A hydrogen-powered Hyundai NEXO is customised to blow bubbles from its exhaust… and the bubbles contain seeds. The classic product demo technique is given a twist to hint at superior eco virtues of hydrogen.

An online film for the launch of Mercedes- Benz’ first electric car, the EQC stars the Grammy winning artist Weeknd and features his latest single, “Blinding Lights“. The ad shows a series of montages cutting between great moments of the brand’s history and also through the 133 years of automotive history, to show the journey and progression from the first ever car.

Agency Jung von Matt, Hamburg Creative Direction Sarah Buggle Art Direction Kim Boreum

Agency antoni_garage, Berlin Art Direction Karin Reineke

Lürzer’s Archive

Copywriter Harvey Wilks Director Julius Krappe Production Digitalsinn

2011

Director Nicolas Mendez Production Iconoclast Germany

Copywriter Eric Springer, David Povill Director Lance Acord Production Park Pictures

VW VOLKSWAGEN Print Campaign 2011

See more of the campaign at luerzersarchive.com

Agency DDB, Buenos Aires Art Direction Hernàn Jaùregui, Lisandro Grandal, Alejandro Hara

Vol 1/2022

Copywriter Pablo Batlle, Emilio Yacon, Fernando Tchechenistky Digital Artist Gabriel Vanek

194–195

AUTOMOTIVE SPECIAL

Top: SMART Print Campaign 2015 Agency Jung von Matt, Hamburg Creative Direction Frank Seiler, Dörte Spengler-Ahrens Lürzer’s Archive

Art Direction Juliana Paracencio, Barbara Dirscherl Copywriter Luiz-Vicente Simoes Illustrator Katerina Kamprani Digital Artist Katerina Kamprani, Tobias Schlieperskötter

Bottom: SAFE DISTANCE AUDI TURKEY Print Campaign 2013

Agency DDB&Co., Istanbul Creative Direction Karpat Polat Art Direction Yusuf Kayhan Copywriter Gorkem Ciftci Hasan

AUTOMOTIVE SPECIAL

HONDA Dream Run

VOLKSWAGEN Singular Masterpiece

2015

A 2015 Australian film for Honda in which our ‘hero’ sleep-drives his new HONDA compact SUV pursued by numerous paramilitary figures trying to wake him up. It takes the Honda line – the power of dreams – to a new level and was at the forefront of making this relatively new market segment the lifestyle leader it still is today.

Agency Leo Burnett, Melbourne Creative Direction Jason Williams

MERCEDES-BENZ Chicken

Art Direction Joe Hill Copywriter Garret Fitzgerald

Director Nathan Price Production Goodoil Films

2013

HONDA Hands

Lavish and innovative production that set out to create a luxury car aura to launch the Phaeton.

VW combined aspirational interactive features and a rich take on VW brand and tech heritage.

Full of ideas before, and occasionally after, their time.

Agency Ogilvy & Mather, Beijing Creative Direction Doug Schiff Art Direction Michael Chu, Geng Cheng, Darren Crawforth

2013

This spot is for the Mercedes-Benz ‘Magic Body Control’ suspension system, which claims to ensure ‘optimum driving comfort.’ Set to the Diana Ross classic ‘Upside Down.’

Two hands are playing with a screw, fashioning from it the most amazing vehicles, motorcycles, cars, robots – and even a jet. Pay-off: Honda. The Power of Dreams.

Agency Jung von Matt, Stuttgart, Germany Creative Direction Robert Herter, Lukasz Brzozowski Art Direction Lucas Osis

Agency Wieden + Kennedy, London Creative Direction Tony Davidson, Kim Papworth Art Direction Aaron McGurk

Lürzer’s Archive

Copywriter Nico Baumann Director Daniel Warwick Production Big Fish

2012

Copywriter Chris Lapham Director Smith & Foulkes Production Nexus Productions

SMART FORTWO #smarteffect

Copywriter Doug Schiff, Kui Xiao Director Johan Perjus Production B-Reel

2015

A clever stunt from BBDO Portugal in which normal cars literally (and here’s the stunt) shrink for real so that there’s room to park normal size cars. Of course, the point is that with a Smart car they don’t need to shrink, you can park easily in the tiniest of spaces. All part of addressing the problems of urban transport.

Agency BBDO Portugal, Lisbon Creative Direction Marco Pacheco Art Direction Ruben Rodrigues

Copywriter André Pereira Production Go Wondr

HYUNDAI Print Campaign 2019

Agency MullenLowe SSP3, Bogotá Creative Director Camilo Jimenez, Juan Pablo Maldonado, Carlos Andrés Rodríguez Monroy

Vol 1/2022

Art Director Camilo Jimenez, Mario Mendoza Copywriter Jorge Eliécer Pinto, Leonardo Bernal, Jaime Andrés Tovar

198–199

AUTOMOTIVE SPECIAL

Top: NISSAN Print Campaign 2016

Lürzer’s Archive

Agency TBWA\Frederick, Santiago de Chile Creative Direction Gastón Morales Art Direction Claudio Ureta, José Miguel Cartibarra, Rodrigo Pacheco Copywriter Carlos Rosales Digital Artist JP1985

Bottom: BMW Print Campaign 2016

Agency Demner, Merlicek & Bergmann / DMB, Vienna Creative Direction Alistair Thompson Art Direction Lukas Hueter, Sebastian Hofer Copywriter Alistair Thompson, Michael Wyhnal, Daniel Kovacs

AUTOMOTIVE SPECIAL

MAN LATIN AMERICA Print Campaign 2015

Lürzer’s Archive

Agency AlmapBBDO, São Paulo Creative Director Bruno Prosperi, Benjamin Yung Junior, Marcelo Nogueira, André Gola, Pernil

See more of the campaign at luerzersarchive.com

Art Director Julio Andery, Marcus Kawamura, Rogério Possato, Felipe Hauck, Ana Paula Esteves Copywriter Ana Carolina Reis, Gustavo da Costa Neves

Photographer Ale Burset Digital Artist Diego Speroni, Zombie Studio

MERCEDES Print Campaign 2019

Agency BBDO, Shanghai Creative Director Kit Koh, Aricio Fortes, WF Leong Art Director Jack Goh, Kelvin Leong, Lucia Tan Vol 1/2022

Copywriter Mukund Olety, Cheng Zhang, Cathy Ren Photographer Zombie Studio Typographer Jianzhong Tam Digital Artist Zombie Studio 206–207

AUTOMOTIVE SPECIAL

VOLKSWAGEN Automatic Skip Ad

FIAT Fiat Safety WiFi

2014

2016

Smart VW ad that enables viewers to eliminate all other commercials thrown at them by YouTube and move straight to the next video.

Taxi passengers were offered free WiFi as a means of encouraging seatbelt use: the connection is not activated until they have buckled up.

[Rikesh Lal] “If there’s one thing that people hate, it’s ads, especially when you’re trying to watch a funny cat video. That’s why I love what this ad does – it automatically skips to the video you actually wanted to watch. It’s a clever way to show the Tiptronic transmission feature of the New Beetle.”

[Roy Cohen] “Now here’s a simple and clever one: a taxi service where WiFi only works when you wear your seatbelt.”

Agency AlmapBBDO, São Paulo Creative Direction Luiz Sanches, Bruno Prosperi, Renato Simões

Art Direction André Leotta Copywriter Leonardo Avila, Fernando Boniotti

Production A Madre

tinyurl.com/888ne2rw

VOLVO Volvo Reality

Agency Leo Burnett Tailor Made, São Paulo, Isobar, São Paulo

Creative Direction Marcelo Reis, Pedro Utzeri, Marcio Juniot, Marcelo Bruzzesi

Art Direction Vitor Menezes, Maicon Pinheiro Copywriter Alexandre Freire, Pedro Furtado Director Paulo Staliano

tinyurl.com/u837deuj

HONDA CIVIC: TYPE R CONCEPT The Other Side 2015

2015

Cardboard specs are hooked up to a mobile phone to provide a 3D simulation of a ride in the new Volvo.

Two different stories are recounted by Honda, with interactive keyboard controls enabling the user to toggle between the two.

[Mike Caguin] “As a maker of fine automobiles, it makes perfect sense to hitch yourself to the latest and greatest from Google: cardboard. Don’t be fooled. Google Cardboard folds into an ingenious virtual reality headset, making this launch of the XC90 a little more special for those Volvo enthusiasts.”

[Mike Caguin] “You know you’ve come across something special when you’re immediately humbled and feel sick to your stomach about the simplicity of an idea that is executed brilliantly. The simple interactivity is fun, while the film is completely thought through. Bravo.”

Agency R/GA, New York Creative Direction David Decheser, James Murphy

tinyurl.com/mrx89x5j Lürzer’s Archive

Art Direction Pablo Honey, Iglesias Carolina, Josh Yeston Copywriter Keith Byrne, Jay Zasa, TJ Walthall

Director David Mellor Production R/GA Content Studio, Framestore

Agency Wieden + Kennedy, London Creative Direction Scott Dungate, Douglas Graeme tinyurl.com/yjje3xdx

Art Direction Tony Davidson, Kim Papworth, Scott Dungate, Tim Vance, Paul Knott, Douglas Graeme

Director Daniel Wolfe Production Somesuch

photography: johannes-kuehn.com

schinken studio

keeping it real in postproduction creative retouching and cgi www.schinken.studio

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

www.jeffludes.com jeffludes

AUTOMOTIVE SPECIAL

Summary With car brands embracing NFT and blockchain, electric isn’t the only major shift on the horizon. While there’s a huge amount of buzz about the metaverse right now, its basic elements have been with us for a long time. Car brands have been experimenting with virtual reality, augmented reality and video game integration for a while, albeit some more successfully than others.

In our tour through the past decade of some of the most indicative auto work, what always remains prominent is the old need to get noticed. The best potential flops if it does not engage the audience while semi-commodity products leap into life within a brilliant communication idea.

Whether potential customers are picking a car to drive in Fortnite, spotting a billboard on the morning commute or sharing the latest blockbuster Super Bowl commercial with friends, brands have a multiverse of opportunities to connect with their audiences today. Getting the media mix right has perhaps never been more complicated or creative – indeed the media can sometimes almost be the idea – but to really stand out, as the selection here shows, great advertising still needs great craft to carry the message into the dreams and aspirations of the target audience.

Having a winning car ad may be getting harder as the marketplace doubts the old tech and even questions the very point of buying a vehicle. But if it is tough to do, then the tough get going... and 2020s automotive may be the territory for standout work. And to think it all started with that sharply-worded horseremoval ad of more than 130 years ago.

LÜRZER’S ARCHIVE AUTO22 Cover: Agency TBWA\Chiat\Day, New York Creative Direction Chris Beresford-Hill, Al Merry Art Direction Pierrick Jegou Copywriter Aste Gutierrez Illustrator Bastien Grisolet

Publisher & Editor-in-Chief Michael Weinzettl

Subscriptions and copy sales subs@lurzersarchive.com

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

Lürzer’s Archive

Published by Lürzer International Limited Henry Wood House 2 Riding House Street London W1W 7FA Directors Lewis Blackwell Alan Page Printed by Print Alliance HAV Produktions GmbH Druckhausstr 1 2540 Bad Vöslau Austria printalliance.at Contents © 2022 Lürzer International Ltd. All rights reserved

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

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

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

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

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CLASSICS A spread featuring a selection of print ads that were all originally showcased in Lürzer’s Archive 25 years ago in 1997.

Lürzer’s Archive

Top: Ad for Akzo Nobel inks and paints.

Client Akzo Nobel Inks Agency Holmgren Eriksson Signell, Malmoe Art Direction Peer Eriksson Copywriter Henri Holmgren Photographer Francois Gillet

Bottom: Client The Body Shop Agency Bean, Andrews, Norways, Cramphorn/ BANC, London

Art Direction Graeme Norways, Gary Sollof, Jeff Ford Copywriter Graeme Norways, Gary Sollof, Jeff Ford Photographer Nadav Kander

Top: The word ‘Gemütlichkeit’ means ‘comfort, cosiness’. The headlines in this campaign for MTV Germany featured terms that usually stand for typically stodgy German values but are interpreted through the pictures in a way that illustrates their subversion by youth culture in Germany today.

Bottom: Client Lee Agency Fallon, Minneapolis

Client MTV Agency Standard Rad, Berlin, .start, Munich, Germany Copywriter Marc Strotmann, Gregor Woeltje Photographer Daniel Josefsohn

Vol 1/2022

Art Direction Ellen Steinberg Copywriter Scott Vincent Photographer Ann Cutting

220–221

REVIEWS

Northern Island FreshCaned Unreal Engine $49.99

A Day in the Life of Americans Nathan Lau Flowingdata.com

Lürzer’s Archive

You can almost smell the flowers, hear the waves and feel the stones under your feet.

Across its 16 sq. km of craggy hills and coves, the rocky but lush territory of Northern Island feels like it is waiting for you to do something… anything. It is your plaything, literally - and for less than $50! Of course, we are in a dreamworld. This is one of the latest additions to the FreshCaned Studio ready-to-wear collection of virtual worlds, created within and for Epic Games’ powerful Unreal Engine is now increasingly touted as a transformative tool for more than just games developers, so we may expect these environments to become surprisingly ubiquitous. How long before the paths and peaks of this island lurk within advertising, marketing, architecture and design modelling?

Already it is difficult to watch an ad break without some confusion as to where the real and the engineered cross paths.

With sophisticated tools at this price, the future is set to be ever more unreal. Or real.

We can’t tell the difference.

Using microdata from the American Time Use Survey, Nathan Lau created a mesmerising and rather beautiful simulation of a day in the life of a thousand Americans. Each dot on the ‘animation’ represents an individual’s behaviour and traces 24 hours in their life. As the dots move from one activity to another, they change colour.

Each colour represents a different part of life such as household care (red) or eating and drinking (green). The day starts with little movement at 4am, as most people are still asleep, but set the simulation to Fast and come 7am things really start to buzz. You will see people heading to work, run errands, take care of the kids, commute, work, relax and eat. None of it is exactly surprising, but the execution is such that we could watch it almost endlessly, trying to fit our own lives into the lives playing out in front of us.

To most of us, data can be seen as a dull, if increasingly essential, business tool.

Here it moves to another level. Used to illuminate the life of humans, it show just what it is that consumes us.

Virgil Abloh Nike ICONS

© Virgil Abloh/Nike

published by Taschen 352 pages, €60

“Virgil Abloh attended the University of Wisconsin-Madison and received a Bachelor of Sciences degree in civil engineering there. Outside of class, Virgil skated, deejayed and hosted dinner parties…” So reads an entry in the glossary at the back of this lavish tome, a reissue/remaking of a 2016 production that Abloh, who died at in 2021 at the age of 41, carried out in partnership with Nike. As the creative head of Louis Vuitton, and with his own fashion house Off-White, it’s a sign of Abloh’s immense breadth of talent and work-rate that he managed this collaboration too. But then civil engineering students have to put in the hours and dinner parties don’t organise themselves. It’s easy to say that somebody who dies too early is a great loss but in Abloh’s case there is a painful sense of the lost potential, all the remarkable things he may have gone on to do but we will never know.

While ICONS is a beautiful riff on the sneaker – a book that documents a project where Abloh deconstructed and refashioned 10 iconic Nike shoes – it is but a hint of what he might have done in so many other fields. He had a Master’s in architecture from IIT in Chicago, too, and we may feel that the fashion world was lucky to have him: he was surely on the way to do other things. When we see these fun but ultimately lightweight examples of sneaker art, we might dream of what he could have done with a building, a district, sculpture, music… or any culture he cared to get into.

That said, this is a nice object. A tip of the hat is due to London-based design studio Zak Group, who were partners in the making of the book, and Taschen for once again backing a winner. But there’s a sadness hanging over it that was never part of the plan.

Vol 1/2022

222–223

REVIEWS

A History of The World (in Dingbats):

Drawings and Words David Byrne Phaidon, London. £29.95

Lürzer’s Archive

The renaissance man of David Byrne, one-time front man of Talking Heads and more recently the master of ceremonies at the heart of his American Utopia live show is also, as if you doubted it, pretty handy with a pencil.And even a pandemic doesn’t keep him down: indeed, it gave Byrne the time and space to put this work together. Whether it is wise words or witty drawings, he’s got it nailed. He has already had at least a couple of best selling books in the past and this just might be the next. Across its pages there is a quirky take on, well, everything and nothing. Somehow this is a riff on the typographic furniture of dingbats… but it’s a loose one. The book is verging on the profound and then again, quite possibly not. It depends on your mood.

The visual appeal of this book is much helped by the neat work of designer Alex Kalman. It’s a nice tome. But most of all, the 100 or so drawings make it something to come back to or to want to share. You can really sense the gifting potential of this volume. And it’s a gift to us all.

The Mayfair Tennis Ball Exchange David Shrigley

Stephen Friedman, London

Ok, you’ve missed this. The show came and went, all too brief. As the name suggests, it happened in Mayfair, London, at the Stephen Friedman gallery where the creator behind the project, David Shrigley, is one of a storied roster of artists. It was such a neat idea we can only imagine it is likely to pop up in a gallery or institution in another city somewhere in the world soon. As the pictures indicate, the gallery was full of tennis balls. “If you need tennis balls, we’ve got them all here,” said Shrigley of the installation when he looked around rooms clad in a total of c. 12000 balls. The visual impact was not the main point, even though there was a kind of Op Art impact to the massed balls. The concept was that there was an open invitation to visitors to come along with more tennis balls and exchange them freely with the immaculate specially made (unbranded) ones on the shelf. They could bring branded new ones or could bring manky, half-rotten balls rescued from a damp corner.

Whatever, as long as it was a tennis ball. They did not only get a ball back but also a badge as a token for their taking part in the trade, in the exchange.

Shrigley was in part inspired by seeing how his dog would fetch and respond to tennis balls, give it up or defend it, endlessly fascinated by this interaction on a daily basis. Shrigley liked the mildly subversive act of doing this as a free exchange in Mayfair, where trade is typically a much more expensive activity.

But we could imagine a shop doing something similar, briefly, as a product launch, as a pop up, a very limited release, a priceless offering.

Vol 1/2022

224–225

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