Advertising agency: Ogilvy Mexico Creative Director: Miguel Angel Ruiz Copywriter: Abraham Quintana Art Director: Ivan Carrasco, Mario Salgado, Jaime Gonzales Year: 2010 Bronze Lion
Advertising agency: Ogilvy Frankfurt Creative Director: Stephan Vogel Copywriter: Stephan Lenz Art Director: Marco Weber Year: 2008 Gold Lion for the campaign
SPHERE ACTION FIGURES – Pararescue Jumper/16 Air Assault/7th Marines/Desert Rats
Advertising agency: TBWA/Singapore Creative Director: Mark Bamfield Copywriter: Robert Kleman, John Sheterline Art Director: Marcus Rebeschini Year: 2004 Gold Lion for the campaign
Advertising agency: Lowe Brindfors, Stockholm Creative Director: Hakan Engler Copywriter: Johan Holmstrom Art Director: Richard Villar Year: 2005 Gold Lion for the campaign
Advertising Agency: TBWA Paris Creative Director: Erik Vervroegen Copywriter: Eric Helias Art Director: Jorge Carreno Photographer: Dimitri Daniloff Year: 2003 Grand Prix in Press Lions
Advertising Agency: TBWA Paris Creative Director: Erik Vervroegen Copywriter: Eric Helias Art Director: Jorge Carreno Photographer: Marc Gouby Year: 2003 Silver Lion for the campaign
Advertising Agency: TBWA Paris Creative Director: Erik Vervroegen Copywriter: Manoelle Van Der Vaeren Art Director: Sebastien Vacherot Photographer: Dimitri Daniloff Year: 2004 Gold Lion
Advertising Agency: TBWA Paris Creative Director: Erik Vervroegen Copywriter: Manoelle Van Der Vaeren Art Director: Sebastien Vacherot Photographer: Dimitri Daniloff Year: 2005 Gold Lion
Advertising Agency: TBWA Paris Creative Director: Erik Vervroegen Copywriter: Matthew Branning Art Director: Chris Garbut Photographer: Dimitri Daniloff Year: 2005 Gold Lion
Advertising Agency: TBWA Paris Creative Director: Erik Vervroegen Copywriter: Xander Smith Art Director: Javier Rodriguez Photographer: Yann Robert Year: 2005 Gold Lion
Agency: Ogilvy & Mather Santiago Creative Director: Cesar Agost Carreno Copywriter: Felipe Manalich Art Director: Sergio Iacobelli/Sebastian Alvarado Photographer: Juab Carlos Sotello Year: 2005 Grand Prix (Outdoor Lions)
Agency: Saatchi & Saatchi Singapore Creative Director: Andy Greenway Copywriter: Stuart Harricks/Roger Makak Art Director: Stuart Harricks Photographer: Dean Zillwood/IDC Year: 2006 Silver Lion for the campaign
Advertising Agency: JUNG Von MATT, Hamburg Creative Director: Arno Lindemann/Bernhard Lukas Copywriter: Daniel Schaeferk Art Director: Szymon Rose Photographer: Achim Lippoth Year: 2007 Gold Lion
Advertising Agency: Ogilvy & Mother France Creative Director: Chris Garbutt Copywriter: Arnaud Vanhelle, Benjamin Bregeault, Mihnea Gheorghiu Art Director: Antoaneta Metchanova, Alex Daff, Najin Ha Year: 2008 Silver Lion for the campaign
Canadian Tire is lighting up the holiday season and spreading Christmas cheer across the country with the launch of its state-of-the-art, 30-foot Christmas Spirit Tree. The tree, unveiled today at Toronto’s Union Station, has 3,000 LED lights that are powered by messages of positive Christmas spirit on social media channels including Facebook, Twitter and posts to ChristmasSpiritTree.ca
“At this time of the year, everyone’s talking about holiday spirit. We wanted to show it,” says Rob Shields, Senior Vice President, Marketing, Canadian Tire. “Canadian Tire is thrilled to see the Christmas Spirit Tree come to life and celebrate the joy of the holiday season with all Canadians.”
According to a recent survey* commissioned by Canadian Tire, 37 per cent of Canadians won’t mail cards this year, but rather will use online channels. In fact, 28 per cent said they share their Christmas spirit by posting messages on social networks; 16 per cent send e-cards and 8 per cent use Skype or iChat. The research conducted by Canadian Tire also found that in 2010 more than 1.6 million social media messages were posted about the Christmas season inCanada.
The Christmas Spirit Tree will capture all real-time blog posts, tweets, public Facebook messages and other online content containing specific Christmas keywords and transform them into data that is then visualized via the lights on the tree. Canadians may also text message “Christmas” to 70734 to affect the lights on the tree.
The brightness and colour of the lights will vary depending on the source of the messages. For example, posts from Twitter and other social media are represented as white lights on the tree, whereas messages from ChristmasSpiritTree.ca or text messages are visualized as a spiral of blue lights moving up the tree accompanied by flashing strobe lights all over. And, the brightness of the lights represents the total number of per-minute messages being shared across the country, so at times when online sharing is at its highest, the tree will shine at its brightest.
Canadian Tire’s Christmas survey also provides a glimpse into Canadians’ feelings about the festive season and their own Christmas spirit:
Putting up the Christmas tree (93%), holiday shopping (92%) and attending children’s holiday pageants (86%) are the activities that most spark their Christmas Spirit
27 per cent feel that Santa Claus most represents their Christmas spirit because he’s a jolly gift-giver
18 per cent most relate to Santa’s elves because they are busy finishing last-minute Christmas errands
50 per cent claim that they can name every reindeer that pulls Santa’s sleigh
The majority (84%) of Canadians unwrap gifts with their families on Christmas Day with only 44 per cent reporting they do it on Christmas Eve
The Christmas Spirit Tree will be on display at Toronto Union Station from December 12-26 from 6:00 a.m. tomidnight EST daily and can be viewed via live stream at ChristmasSpiritTree.ca and on screens at Yonge-Dundas Square. Media are welcome to film and photograph the tree. Daily Spirit Tree metrics and statistics, including provincial breakdowns, are available on request.
Advertising Agency: Tribal DDB, Toronto Creative Director: LP Tremblay Associate Creative Director / Art Director: Mara Binudin Associate Creative Director / Copywriter: Ryan Lawrence Year: 2011
In 1969, The Coca-Cola Company and its advertising agency, McCann-Erickson, ended their popular “Things Go Better With Coke” campaign, replacing it with a campaign that centered on the slogan “It’s the Real Thing.” Beginning with a hit song, the new campaign featured what proved to be one of the most popular ads ever created.
The story behind the song
The song “I’d Like to Buy The World a Coke” had its origins on January 18, 1971, in a fog. Bill Backer, the creative director on the Coca-Cola account for McCann-Erickson, was traveling to London to join two other songwriters, Billy Davis and Roger Cook, to write and arrange several radio commercials for The Coca-Cola Company that would be recorded by the popular singing group the New Seekers. As the plane approached Great Britain, heavy fog at London’s Heathrow Airport forced it to land instead at Shannon Airport, Ireland. The irate passengers were obliged to share rooms at the one hotel available in Shannon or to sleep at the airport. Tensions and tempers ran high.
The next morning, as the passengers gathered in the airport coffee shop awaiting clearance to fly, Backer noticed that several who had been among the most irate were now laughing and sharing stories over bottles of Coke. As Backer himself recalled in his book The Care and Feeding of Ideas:
In that moment . . . began to see a bottle of Coca-Cola as more than a drink. . . . began to see the familiar words, “Let’s have a Coke,” as . . . actually a subtle way of saying, “Let’s keep each other company for a little while.” And knew they were being said all over the world as sat there in Ireland. So that was the basic idea: to see Coke not as it was originally designed to be—a liquid refresher—but as a tiny bit of commonality between all peoples, a universally liked formula that would help to keep them company for a few minutes.
Backer’s flight never did reach London. Heathrow Airport was still fogged in, so the passengers were redirected to Liverpool and bussed to London, arriving around midnight. At his hotel, Backer immediately met with Billy Davis and Roger Cook, finding that they had completed one song and were working on a second as they prepared to meet the New Seekers’ musical arranger the next day. Backer told them he thought they should work through the night on an idea he had had: “I could see and hear a song that treated the whole world as if it were a person—a person the singer would like to help and get to know. I’m not sure how the lyric should start, but I know the last line.” With that he pulled out the paper napkin on which he had scribbled the line, “I’d like to buy the world a Coke and keep it company.”
The three members of the writing team that night each brought a different perspective to their task. Billy Davis, of McCann-Erickson, had toured as a member of the singing group the Four Tops and had written several songs for the powerful and popular Motown music production organization. Roger Cook, a native of Bristol, England, had teamed with Roger Greenaway to write several 1960s pop standards including “You’ve Got Your Troubles” and “Long Cool Woman (In a Black Dress).” Bill Backer was from Charleston, South Carolina, and had written the jingle “Things Go Better with Coke” as well as the jingle for “The Real Thing” campaign.
Appropriately, then, each contributed something different to the song they wrote together that night. Davis provided the core idea for the opening line, that everyone needs a home. Backer gave it the same pattern as the line he’d written, so that it became “I’d like to build the world a home.” And perhaps because this was, after all, the late 1960s, the three decided that the home should be furnished “with love.” Cook might have drawn on British folksong imagery when he contributed the line “Grow apple trees and honey bees, and snow white turtle doves,” which Backer and Davis at first thought too grand but eventually accepted for its poetic quality. Next, Backer penned a variation of the opening line: “I’d like to teach the world to sing in perfect harmony.” Coming full circle, the last line expressed the song’s original idea: “I’d like to buy the world a Coke and keep it company.”
The melody was based on a Roger Cook-Roger Greenaway song that Cook and Davis reworked to incorporate the melody used for the campaign slogan “It’s the Real Thing.” This allowed them to weave the updated slogan “It’s the real thing, Coke is what the world wants today” into the new song’s harmonizing voice parts. This was the result:
I’d like to buy the world a home and furnish it with love,
Grow apple trees and honey bees, and snow white turtle doves.
I’d like to teach the world to sing in perfect harmony,
I’d like to buy the world a Coke and keep it company.
It’s the real thing, Coke is what the world wants today.
The next day, Backer, Cook, and Davis presented the lyrics and melody they had created during their all-night brainstorming session to David Mackay, the arranger for the New Seekers, with instructions to make his arrangement warm and appealing but not too cute. It was immediately decided that the ad should begin with New Seekers vocalist Eve Graham in order to have a woman initiate the message. And after trying out several versions in which the New Seekers attempted to sing the song as a typical advertising jingle, Backer and Davis convinced them to relax and use their own folk/pop style instead. Several weeks later, on February 12, 1971, “I’d Like to Buy the World a Coke” was shipped to radio stations throughout the United States.
It promptly flopped. The Coca-Cola bottlers hated the ad and most refused to buy airtime for it. The few times the ad was played, the public paid no attention. Bill Backer’s idea that Coke connected people appeared to be dead.
Backer persuaded McCann to convince Coca-Cola executives that the ad was still viable but needed a visual dimension. His approach succeeded: the company eventually approved more than $250,000 for filming, at the time one of the largest budgets ever devoted to a television commercial. Backer then spent weeks canvassing the McCann creative staff for ideas, until Harvey Gabor, a young art director, proposed that the song be treated for television as a “First United Chorus of the World.” He envisioned a group of young people from all nations, in clothing representing their nationalities, singing the song on a green hillside. Gabor’s idea prevailed, and McCann prepared to shoot the commercial.
Producing the ad, however, proved to be one of the most challenging projects in the agency’s history. What kept the project alive was belief in the strength of the ad’s basic message, that Coca-Cola is a bond connecting people to one another.
The Shooting
Because London had been the song’s starting point, the ad’s creators decided that the “green hill” of its setting should be the storied cliffs of Dover on England’s southern coast. By March, 1971, a McCann production crew including Billy Davis, Harvey Gabor, and agency producer Phil Messina traveled with photographer/director Haskell Wexler to England to begin work. The chorus, they decided, would consist of several thousand British school children and would feature sixty-five principals who would be seen at close range. The children were cast and rehearsed “lip synching” moving their lips silently as though they were singing—to the New Seekers rendition of the song. Filming was set to begin on April 8, but three days of continuous rain, with more forecast, forced postponements. The McCann staff decided to move the shoot to Rome, which promised a more favorable climate.
In Italy, the producers had to cast a new group of children by searching schools and youth hostels. One English singer, the “head girl,” was brought to Italy to reprise her role. Production was to begin at 7:30 on the appointed morning with close-up shots of the sixty-five new principal singers in the flattering morning light. Unfortunately, it rained that morning for the first time in weeks. When the rain cleared in the afternoon, the leads were filmed singing the song while the “extra” children waited. Finally, late in the day, some twelve hundred children were spaced out on the top of the hill for the climactic shot from a helicopter. With light fading after only a few takes, the children broke ranks and began running down the hill to get more Coke from the truck carrying the props.
When the film was developed there were some unpleasant surprises. The zoom lens used for the close shots was faulty: every frame was out of focus. Additionally, the light levels on the helicopter shots were too low. The lead female singer then informed the crew that she had just been married and was going on her honeymoon and would be unavailable for any additional filming. McCann had now used its entire budget waiting for the rain to end in England and generating unusable footage in Rome.
To keep the ad alive, the McCann production crew went back to the drawing board. They cut the number of children in the youth chorus from twelve hundred to five hundred and began the search for a new female lead. They filled the ranks of the chorus by contacting the foreign embassies in Rome and drawing from their residents. As principals, they selected some forty young people between the ages of fifteen and nineteen. And when they spotted Linda Neary, a British governess living in Rome, walking down the street pushing a baby carriage, they decided she looked perfect for the part of the female lead. Two days before shooting was scheduled to begin, Neary agreed to take the part and the cast was set.
A new local film company, Roma Films, was contracted to film the commercial. Billy Davis rehearsed the young people lip synching to the New Seekers’ recording, and filming began on a different hillside the following day. Roma Films changed the strategy that had been used for the earlier shooting, filming the larger group shots first as Davis conducted the chorus. The aerial views showing the entire group from the vantage point of a helicopter were filmed next, while the tight close-ups were actually filmed at a racetrack near Rome.
The Commercial
The television ad “I’d Like to Buy the World a Coke” was released first in Europe, where it garnered only a tepid response. It was then released in the U.S. in July, 1971, and the response was immediate and dramatic. By November of that year, Coca-Cola and its bottlers had received more than a hundred thousand letters about the ad. At that time the demand for the song was so great that many people were calling radio stations and asking them to play the commercial. Clearly, “I’d Like to Buy the World a Coke” had struck a chord deeper than the normal response to the advertisement of a commercial product, and Billy Davis asked Bill Backer to rewrite the lyrics without the references to Coke.
Because the New Seekers were initially unavailable to record the new version, a group calling itself the Hillside Singers recorded it with a country-and-western flavor and released it as a single. When the New Seekers began an American tour several weeks latter, they re-recorded the new lyrics and released a second single. Both version sold well in fact, at one point, the New Seekers version was listed among the top ten songs on the American pop music charts while the Hillside Singers version was number thirteen. Such successes were repeated around the world as the ad’s popularity expanded. Recordings of the song and versions of the sheet music appeared in a variety of languages to fill an ever-increasing demand.
“I’d Like to Buy the World a Coke” has had a lasting connection with the viewing public. Advertising surveys consistently identify it as one of the best commercials of all time, and the sheet music continues to sell more than thirty years after the song was written. Such is the power of television advertising that through the enduring popularity of this ad, at least, Coke has borne out something of Backer’s ambitious claims for it, becoming a common connection among people.
- Hilltop” is the first historical ad ever to be restored in High Definition (HD). It can still be viewed by the public as it was donated to the Library of Congress in Washington DC in 2000.
- The international cast included actors from more than 20 countries.
- The opening scene was shot at a horse racetrack outside of Rome forcing unusual camera angles during the opening scene as the director tried to avoid having telephone wires in the background of the shots; the rest of the commercial was shot on the hilltop.
- Within 10 days of the U.S. release of “Hilltop,” The Coca-Cola Company received 10,000 letters from consumers thanking the Company for the message in the ad. Consumers also called television stations asking when the commercial was scheduled to air.
- The song “I’d Like to Buy the World a Coke” was written in less than 24 hours.
- The cast did not actualy sing “I’d Like to Buy the World a Coke,” but rather lip-synced to a New Seekers recording
Interview with Bill Backer
Interview conducted with Bill Backer about his role in creating the famous Coca-Cola ad, “I’d Like to Buy the World a Coke.” Backer co-composed the ad with Billy Davis, Roger Greenaway and Roger Cook in January 1971. Backer was the creative director for McCann Erickson when the ad was made. The Coca-Cola Archives interviewed Backer in 2007.
In the mid-1970s, another version of the commercial was filmed for the holiday season. This reworking featured the same song, but showed the group at night, with each person holding a lit white candle. In the final zoom-out crane shot, only the candle flames remain visible, forming a triangle reminiscent of a Christmas Tree; this impression is cemented by a Coke-bottle logo superimposed at the top of the “tree”, and the words “Happy Holidays from your Coca-Cola bottler”below. This version was reused for many years during the holiday season.
The Hilltop Reunion
In 1990, a follow-up to this commercial, called “Hilltop Reunion”, aired during coverage of Super Bowl XXIV. It featured the original singers (now adults) and their children, and culminated in a medley of this song and the then-current “Can’t Beat the Real Thing” jingle.
NASCAR Sprint Cup
In 2010, Coca-Cola once again used the song in a television commercial featuring the entire line of its sponsored NASCAR Sprint Cup drivers. The commercial included the drivers singing the song while driving in a race. The following year, information on how many dollars it would take “to buy the world a Coke” was given in a commercial featuring the red silhouette of a Coke bottle and the melody of the song.
Cover
British band Oasis were sued after their recording “Shakermaker” borrowed its melody and some lyrics directly; they were forced to change their composition. Oasis tribute band NoWaySis released a cover of “I’d Like To Teach The World To Sing”, entering the British charts at No.27 in 1996.
In 2007, Campaign magazine called it “one of the best-loved and most influential ads in TV history” It served as a milestone—the first instance of the recording industry’s involvement with advertising.Marketing analysts have noted Coca-Cola’s strategy of marrying the idea of happiness and universal love of the product illustrated by the song.
Advertising Agency: McCann-Erickson, USA Creative Director: Bill Backer Art Director: Harvey Gabor Director: Roberto Malenotti Agency Producer: Phil Messina Music: Billy Davis, Roger Cook, Roger Greenaway, Bill Backer
Merry Christmas from Wieden+Kennedy, Amsterdam: VIRTUAL HOLIDAY DINNER (2010)
The brief was to make a Christmas card on behalf of WIEDEN+KENNEDY AMSTERDAM – something that we could give to clients, family, friends and even strangers. We realized what people want most around the holidays, more than any trinket or card, is to simply be together. No distance should keep loved ones apart. And so we decided to create a virtual holiday dinner, using the Internet to create a new type of Christmas greeting and blowing the traditional Christmas card out of the water.
This Christmas message was especially relevant in our office, which is 75% expatriate – there are 130 people from 20 different countries. Nothing could have been more meaningful to our people than enabling them to connect with people far away. The rustling faux fireplace, festive holiday table and well-dressed mannequins set the scene.
Mannequins were fitted with screens as faces and connected to Skype so people could simply call in and with the help of their webcam, appear on the face of one of the dolls at the table. The cameras on their foreheads let the people at home have a real-time view of the space and everyone at the table. To make this dinner as realistic as virtually possible, we partnered with a robotics specialist to build a unique facial tracking software. Users could move their mannequin’s head by simply moving their face from side to side. Thus, diners could turn and focus on each person.
We packaged the invitation and booking system onto a website and spread the news via Facebook, Twitter and email.
At the end of the three days there were 16,000+ twitter mentions and 3,800 Facebook likes. Most importantly, 156 people, from 6 continents had gathered together for a holiday dinner. There were romantic dates, cross-continental family reunions and even first time meetings.
Voted 2010′s Best Agency Holiday Cards by Adweek.
Adverblo called it, “A lovely Christmas gift from W+K Amsterdam.”
Fast Company said, “The dinner was an undeniable success.” “WIEDEN+KENNEDY AMSTERDAM make it possible to sit down with faraway family and friends for a virtual holiday dinner.”
creativity-online “Now, I really have to dinner with my family!”
Brandsplat Report
Merry Christmas from Tequila/TBWA Auckland: SNOWMAN (2006)
The brief: create the annual Christmas card for New Zealand agencies Whybin\TBWA & TEQUILA\ to send to clients, suppliers and business partners.
Disrupt Christmas conventions (ie: send a card). Stand out from the ho ho ho hum.We sent out a plastic bag containing water, a pipe, a carrot and two round black stones. The attached message was simply: “Warmest Christmas wishes from Whybin\TBWA & TEQUILA\”.
The Christmas mailer exceeded all expectations and snowballed into a huge promotional piece for the agency. Recipients loved it (whether they got it instantly or had someone busting to explain it to them). More than that, they started talking about it and testing it on their friends. Before long, it was being picked up and discussed on radio stations and profiled in the national newspapers. Generating thousands of dollars worth of free publicity for the agency – and an unexpected ROI of over 1100% on agency costs.
Merry Christmas from Mother London: GIVING IS GLORIOUS (2010)
Brief and target audience: To show existing and new clients, as well as creatives in the industry, that Mother London is one of the the leading creative agencies. Strategy: Millions of electronic Christmas greeting cards are sent around nowadays. It’s considered by many as something that clutters your inbox rather than something to appreciate. We turned this on its head by creating one email that appears to be just another piece of junk mail but was in fact one of the most important emails that you received all year.
We gave a corporate Christmas gift/card in a unexpected way, the first honest spam, which strengthened the brand as a inventive creative leader. A gift that was entertaining for both existing and new clients as well as creatives in the industry. We decided to spend our whole budget on a christmas gift to one person.
A spam e-mail offering $10 000 for the first one to reply, was sent out to hundreds of clients and partners. Only one guy replied and we gave him a visit. We filmed the experiment and sent another email to all the people who got the spam. We explained ‘On the 10th of December we offered you $10 000, but you didn’t reply’. Attached was the link to the film. Both our clients,as well as everybody else, could enjoy the film as it spread online.
A quater of a million views on YouTube in a couple of days. 5th most viewed clip in the UK on YouTube (that month). It also reached a number three on the subjects ‘most Twittered about’ during the first days.
Merry Christmas from Shackleton, Madrid: XMAS REVISITED (2007)
We used the excuse of the Christmas Seasons Greeting for an action to demonstrate in the most practical way the creative capacity of the agency.
Objectives:
• Seasons Greetings: Send our clients and prospects our Christmas and New Year wishes
• Display the creative capacity of the agency
• Anchor the image of “creative and integrated agency” in our clients and prospects. The solution: an exercise full of humor and irony, playing on what is generally the daily relation between “client-agency” in relation to the IDEAS.
We wrote a book following the structure of a “meeting report” where we address, consecutively the surrealistic propositions and comments from both the client and the agency on different aspects of Christmas, such as:
The characters (Father Chrismas/St.Klaus, etc…
The customs (grapes, roscón: kings’ cake, etc…
The location (urban rules in Bethlehem, etc…)
The ambient (climate changes, etc…)
The company’s Christmas present.
Results:
• 531 emails of Thank you and cards (67% SPONTANEOUS answer)
• We got 26 agency presentations when the expected standard would have been less than half.
Merry Christmas from Young & Rubicam Brands, Milan: GREEN CHRISTMAS (2011)
Christmas greetings card that challenges the receiver to save energy. Recipients were delighted by receiving a typical greeting card that to address a very important theme uses irony.
Merry Christmas from Grey Mexico: TEDDY BEAR (2005)
Brief: send an original and emotional Christmas card to all Grey Global Group clients that communicates the spirit of the holidays. We decided not to send a regular Christmas card, but a 3D mailing. A box containing a teddy bear with instructions of what to do with it. It must be given to a street child, and the smile that it generated was Grey’s present to our clients. Most of our clients returned the coupon which translated into a donation to an orphanage. We received lots of emails and letters congratulating Grey for such an original and emotional Christmas mailing. All of them gave the teddy bear away.
Merry Christmas from Happiness Brussels: GIFT A STRANGER (2011)
The typical yearly agency brief: create an agency Christmas Card.
As Christmas is a traditional period of gift giving, we at Happiness Brussels wanted to push that giving spirit of Christmas just a little further…
We created Gift a Stranger: a website that allowed people to send a gift to a random person somewhere in the world, and spread a little bit of happiness
The site automatically found a random address somewhere in the world. People could then print out this address, and send their gift to this unknown person. Their gift appeared on the map, with all other gifts from people all over the world.
Results and Effectiveness:
- More than 700 gifts sent during Christmas
- 75.000 unique clicks on the website
- Gift a Stranger was featured on leading blogs
- More than 6.000 impressions on Twitter, Facebook & Tumblr
Merry Christmas from H57, Milan: RE-PACK PROJECT (2011)
H-57 loves and respects the environment. For this reason, during Christmas, we decided to launch an initiative that would promote our agency and be useful at the same time. We have therefore implemented a very simple idea, but in our opinion very effective to make people understand the importance of reusing old boxes/ envelopes/packagings even after the Christmas holidays, to produce an awareness on environment issues (even with a small action), to protect and save a lot of trees! The challenge was to promote our agency doing a good deed.We started thinking to a very simple creative idea with low production costs. Moreover, it would have been perfect if we could find something that would help to “educate”our clients to respect the environment/nature.
The idea came one day while we were at work in the agency. There were some boxes and we tried to close one of them inside out then we had the idea to reuse all the boxes that we had here in office. We personalized the boxes with a red sticker to make the idea understandable, elegant and cool without being cheap. Our concept has been published on many blogs and our customers liked and appreciated our funny promotional operation too.
The task was to design a Christmas greetings card for clients and business partners of the advertising agency Grabarz&Partner with the advice that money would be donated to a charity in their name. The aim was to generate affinity for Grabarz&Partner.
Presentation boards of Grabarz&Partner campaigns that had been rejected internally were cut up into postcard-size pieces and dispatched with Christmas greetings. Grabarz&Partner received many positive reactions from clients and business partner.
Merry Christmas from Vitruvio Leo Burnett, Madrid: THE GIFT IS US (2009)
The main goal was to say Merry Christmas to other agencies in a special way. We wanted to give an honest gift, inspired by generosity and love, that reoresented the values of Christmas. We wanted to present them with a gift that would be hard to forget, something that would leave the best impression of our agency on the advertising industry. Each creative went with a special kit, which included: one numbered laptop bag, two t-shirts (one for each day), 1 pendrive with the goodbye email and some goodbye sweets. They worked with new accounts and new bosses. The decision about which creative had to go to each agency was made studying the profile of each creative, in order to really help the agency with their capabilities, all of our creatives went to their designed agency with the intention of helping out and doing the best possible job. It was the only way to approach the main goal of the campaign.
The experience was greater than we could imagine:
- A pitch won.
- A print campaign published.
- 3 webfilms created.
- More than 90% of our ideas were presented to clients.
- And the most important thing, according to our objectives: more than 500 new friends were acquired. The best thing we could do to leave a good impresion on the agencies was to do something valuable for them, something they would remember us by. We offered them our time and our work to help them to go forward with their own projects. Is there a better gift for an agency than that?
Over the Christmas season, customers receive many greeting cards and mailings. Most are placed straight in the wastebasket. The challenge was to create a distinctive mailing that would get the agency noticed both in its idea and execution – and one that customers would not forget for a long time. Each year at Christmas, the Ruf Lanz advertising agency sends their customers a surprise. With 2008 having been such an economically difficult year, this Christmas they wanted to make it a special surprise.
During the Christmas period, many people like to light candles. That’s why the heads of the four members of the creative board were reproduced as candles. A mould of each of the four heads was elaborately hand-carved in wood. They were used to pour 150 sets of candles – and then hand-painted by the French artist Martine Siragusa. The candles were sent in a wooden presentation box.
The customers responded enthusiastically to the quality mailing. Many put the candles in their offices– and lit them. Some even took them home and decorated their Christmas tree with them. The mailing was also sent to potential customers: one subsequently brought his advertising budget to Ruf Lanz.
Merry Christmas from Nitro, London: UNSUBSERVIENT SANTA (2008)
Nitro’s alternative Christmas card comprised of an interactive microsite called Unsubservientsanta.com. Users we’re invited to write their Christmas wish in the dialogue box and submit it to Santa. Santa would be woken by a flashing light and the request appearing on his printer. Using the latest in interactive technology, Santa would blatantly ignore the request and do something unseasonably unpleasant such as make a rude gesture, smash up the presents or cut down the Christmas tree with a chainsaw. The site proved incredibly popular with staff, clients, friends and the general public.
Merry Christmas from Wunderman Zurich: WAKE UP SANTA (2006)
The annual greetings for Christmas and the New Year are a part of Christmas like Santa Claus and the Christmas tree. The tradition of these greetings is to be maintained, without being traditional. The agency network Wunderman/Futurecom should therefore look for a solution, which stands out against the flood of Christmas cards, amuses and at the same time underlines the expertise of the two agencies on their creativity and integrated communication. The Solution: Wake up Santa, an unconventional sort of Christmas communication via an entertaining and engaging mailing and web game: Wunderman and Futurecom sent the selected recipients a printed Christmas card that asks them to be a hero. They should save Christmas online. This means waking up Santa by choosing the correct combination of waking-up-methods. http://www.wake-up-santa.ch is an interactive site: each try to wake up Santa is shown live via video streaming. The videos were produced in-house, by the agencies themselves. Despite the fact that the visitors had no possibility to win anything or got any other kind of incentive on the website, the campaign obtained remarkable results.
With a send out of 2750 addresses the Website generated:
- 3 784 visits
- 2 287 visitors, 20.4% of it regular
- average of 176 visits daily
- average of 5,27 minutes spent on the website
- 2990 waking attempts or approximately 15 000 streamed waking video clips
- 220 reminder registrations (9,6% of the visitors)
Merry Christmas from Villarrosas, Barcelona: CHRISTMAS AGITATION FRONT (2007)
The Brief
At Christmas, the agency sent its season’s greetings to its clients and friends by creating the Christmas Agitation Front (F.A.N. in Spanish). “
The Solution
A kit was sent by post with templates of slogans for windows and a spray, calling all the group’s followers to action. The themes on the templates were the F.A.N. logo, a Christmas ball-bomb, “Happy Climate Change”, “More ham and less syrup”, “Pay rise!” and “Consume moderately. It’s your responsibility.
The Results
250 welcome packs for the Christmas Agitation Front were sent in total.
Merry Christmas from Wunderman Germany: CHRISTMAS DINNER (2006)
The Brief: develop an attention-grabbing mailing for the agency’s business partners, that:
-differentiates Wunderman from other agencies
-proves the creative excellence of Wunderman
-works as the perfect Christmas greeting.
The Solution: Christmas time is greeting time. And it’s also the time of perfect dinners.
Wunderman links both together. By sending out an eatable mailing, that – even if it’s made of paper – tastes like the classical Christmas turkey.
It was realized by Chicago’s chef Homaro Cantu, who developed a patented method to print the taste of different dishes to eatable paper.
Results. It’s fascinating, by attention and surprise. This innovative greeting supports the positioning of Wunderman as competent and creative dialogue-agency. Even if there was no response required, 36% of the addressees felt inspired to answer – some of them by inviting our Board of Executives to a Christmas Dinner.
The task was to develop a Christmas greeting for clients and partners on behalf of KMS TEAM, a company for brand strategy, brand design and brand communication.
The Christmas gift had to meet the following requirements: establish a personal connection, take up the topics of “brand” and “Christmas”, and invite the recipient to become active. As a Christmas greeting, the brand agency KMS TEAM sent its clients and partners a personalized LEGO set: a conference room with the logo of the respective recipient as an image projection. Under the title, “Building brands”, the accompanying card established the connection to KMS TEAM’s core expertise. Thus a classic gift (LEGO for Christmas) became a delightful means of communication.
Many recipients of the present personally thanked the sender and had very positive things to say about the Christmas greeting.
Merry Christmas from Advertising Depot, Brisbane Australia: ISTANT CHRISTMAS TREE MAKER (2005)
Brief: to generate new business without having to plead with prospective clients for lunch dates. We created a Christmas gift that challenged expectations and was interesting enough that prospective clients would give us a call, instead of the other way around. In a market rife with predictable Christmas Gifts, the Instant Christmas Tree Maker aimed to turn expectations on their head and position us as an agency that achieves cut-through and can add new dimensions to our clients’ advertising.
The majority of prospective clients contacted us to say thank you, presenting us with an opportunity to set up a meeting to discuss their account. We have consolidated 3 substantial accounts as a direct result of the campaign, increasing our billings by approximately 30%.
Merry Christmas from Red C Advertising, UK: CHRISTMAS NUMBER ONES (2008)
Wish clients a Merry Christmas in a fun and interactive way that shows how the agency is now producing work both online and offline. Include some form of Christmas present in the idea to prompt response. Over the last year the agency had taken steps to offer online services alongside traditional offline services. This included the ability to film and edit digital video, build forms and design and build websites… no mean feat for what was once known as a traditional DM agency. We decided that the big rush to become Christmas No.1 would be a fun way to show off our skills to our clients… so we created an alternative Christmas No.1s competition with staff starring in their own pop videos and singing their favourite Christmas songs. Visitors to the site could then vote for their favourite and be entered into a draw to win an IPOD Touch. We sent out 300 cards, and had over 150 entries into the competition, giving us a response rate of well over 50%. With one very lucky person then going on to win an IPOD Touch!
Merry Christmas from Young & Rubicam, New York: THE UNGRATEFUL BASTARDS (2010)
Y&R NY launched a new website called “The Ungrateful Bastards.” If you received a gift during the holidays that you don’t want (and who didn’t?), you can visit this site and trade for someone else’s unwanted gift. “Because one man’s stupid, unwanted holiday gift is another man’s treasure.”
Merry Christmas from Saatchi & Saatchi, Slovenia: GREEN SANTA (2009)
Y&R NY launched a new website called “The Ungrateful Bastards.” If you received a gift during the holidays that you don’t want (and who didn’t?), you can visit this site and trade for someone else’s unwanted gift. “Because one man’s stupid, unwanted holiday gift is another man’s treasure.”
Merry Christmas from Recreate.lu, Luxembourg: XMAS ROAD SIGNS (2010)
Nice little guerrilla action noticed in the streets of Luxembourg. Road signs have been discretely decorated in Christmas fashion. Charming initiative in this holiday season.
Merry Christmas from 180 Amsterdam: CHRISTMAS MESSAGE (2007)
The Christmas card is a light-hearted attempt to contribute to current debates raging about multiculturism, secularism and the true meaning of Christmas. It’s also an appropriate greeting from an agency that boasts over 24 nationalities. Recipients are invited to assemble their own nativity scene from an empty stable and an accompanying sticker-sheet that features a whole mélange of characters. Choose Santa over Joseph or a Burka-clad woman over Mary. Further options include an array of gift bearers, animals, stars and gifts (many of which are courtesy of the agency’s clients). The broad selection guarantees endless fun and limited offence.
The Christmas message was sent out to clients, colleagues, partner agencies and competitors as a funny way to spread Christmas cheer and also awareness of the agency’s ability to execute an idea in an irreverent and entertaining way.
The Christmas card created a stir and was noticed and appreciated in a season that generally is drowned in clutter..
Domestic violence against women is at its highest over the Christmas period. The pressure on creating a perfect family occasion can sometimes place so much stress on an already troubled relationship that it erupts into violence. We were asked to create something that would raise awareness of the issue amongst ministers at this critical time. The strategy was to develop what appeared to be a conventional, Christmas advent calendar. However, behind each of the doors (which were doors and windows of houses) there were scenes of domestic violence. The juxtaposition of the festival nature of the calendar illustration with the horror of what goes on behind closed doors at this time of year provided the tension that made it so powerful. The calendars where mailed out to government ministers in the run up to Christmas.
One of the great ironies of our time is the sheer number of Facebook users who label their debauched post-Las Vegas photo albums some variation of: “What Happens in Vegas…” Obviously, very little that happens in Nevada’s party district, or anywhere else, manages to stay there these days. As long as cameras are on hand to capture the evidence, and social media networks exist to distribute it, the days of worry-free decadence are gone. Or are they?
A new campaign from South American beer brand Cerveza Norte promotes an improbable new product the company developed with Buenos Aires-based agency Del Campo Nazca Saatchi & Saatchi. Norte’s Photoblocker is a futuristic beer cooler that purports to do just what its title says: defend drinkers against unwanted interference from amateur paparazzi and day-after embarrassment (or worse).
The cumbersome object–it looks to be the size of a wastebasket one might keep atop their office desk–not only serves as a functional temperature-preserving beer cooler, but it also works to preserve nightclub anonymity. Photoblocker detects camera and cell phone flashes in 360 degrees, reflecting back a powerful flash that instantly destroys all attempted photos.
We’ve seen photoblocking technology applied in the automotive sector, as a speeding ticket evasion mechanism, but this may be the first bar-centric application. The agency says the device, which has so far only been planted in regional bars, is a real product that has been field tested and actually works. “We placed several beer coolers in different bars in the North of Argentina,” says Maxi Itzkoff, executive creative director at Del Campo. “People took lots of photos that ended up being blurry beyond recognition and then uploaded them to social media anyway.”
In an ad promoting the brand and the new “utility,” provocatively dressed women dance with abandon in a club while the surrounding men (who look distinctly married in some cases) stand at attention, ready to pounce. Meanwhile a screencrawl informs the viewer that in 2011, technological advances and social networks can now turn a night out into… hell. Next, an interloper with a camera snaps a series of pictures illuminating the negative consequences of being caught on film in such a setting. As luck would have it, though, the patrons of this club are protected by Photoblocker, and the resulting snapshots are flooded with white light.
Del Campo is known for beer campaigns that combine innovative tech with uncommon social savvy and PT Barnum-like stunting (the agency also just created a new microwave oven upgrade). For Anheuser-Busch Inbev’s local beer brand Andes, Del Campo created a booth called the Teletransporter that the agency brought to several bars in the city of Mendoza. Male bar patrons were able to loudly enjoy some Andes beer with friends before ducking into the Teletransporter booth and selecting innocuous background noise, allowing them to deceive their wives or girlfriends as to their whereabouts. Okay, the concept isn’t exactly progressive, but it won a lot of awards.
Norte’s Photoblocker is similarly innovative, but it’s gender-blind usefulness ensures that it will be enjoyed by anyone at all who values privacy along with their pilsner.
How can an agency showcase its work and awards without arrogance. In a business where egos sometimes seem too big for an agency’s well being, Leo Burnett wanted to proudly celebrate its work and performance without ever crossing the line into arrogance. Tura, a stray dog from the agency’s creative director seemed just the perfect fit for this task.
It’s a thin line between being arrogant and just plain informative, when one talks about his or hers agency’s awards and success. Leo Burnett Lisbon’s performance in the awards shows has been very successful. And it is no secret that the more creative an agency is, the better work it does and the more relevant and attractive it become in the eye of potential clients. Tura, the dog, became the right and genuine way of being able to say it all without ever crossing the line.
How? We named Tura, the dog, the agency’s creative director. And in every work submitted for an award, Tura was added. We also created a site, where one can see Tura hard at work picking ideas, concepts and displaying her awards. Tura, the dog, became an ambassador to the agency’s work. And with her as an integral part of our creative team, we were able to always talk about our creative work and results through the acts of a dog. The most creative dog in the world. Tura was further advertised via Direct mail, Dog USB Card with Agency Credentials, event and T-shirts.
Results: with over 5,000 views online Tura’s presentation video is a good example of this idea’s reach and success. Moreover, we have been approached through Tura’s site several times in the last year. Clients have been known to want to meet her in person. And as result, Tura, the dog is today the agency’s most popular spokesperson. And having received free press in trade magazines and online, the return in investment is above the norm in this market by far.
Advertising Agency: Leo Burnett Iberia Executive Creative director: Chacho Puebla Creatives: Juan Christmann, Ricardo Toledo Year: 2010
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