Wrangler/We Are Animals Campaign – The story behind the animals
Posted: October 22, 2012 Filed under: Agency, Case History, France, Press/Outdoor, Viral | Tags: animality, brand, cannes festival, Case History, France, Fred & Farid, grand prix, poster, Ryan McGinley, shoot, the story behind the animals, we are animal campaign, We are animals, Wrangler Leave a comment »
In 2008, clothes company Wrangler put out a pitch to advertising agencies asking for help to reinvigorate the brand within the European youth market. It faced a specific image problem. “The problem was that Wrangler is an American brand, 125 years old, associated with middle America…” explains Fred Raillard of Parisian agency Fred & Farid. “So the perception of Wrangler was very much linked to the cowboy… But the cowboys in Europe was negative, because the cowboy means old, white America. It’s Marlboro, it’s John Wayne, it’s the people behind the indian genocide. It’s George Bush, who was hated in Europe”.
Despite this, Fred & Farid, which won the pitch, felt it was important not to stray too far away from the brand’s root in its new advertising. “You cannot start from scratch with the communication of a brand thai is 125 years old” continues Fred. “You cannot. Especially as in America the communication about the cowboy was to carry on… So we tried to extract the values of the rodeo - the wildness, being on an animal, roughness. Also, the positive aspects of cowboys – environment, nature, living with animals. Living in sinch with nature, having courage. We tried to extract some values that would connect with young people in Europe. The we thought: maybe we could just move from the cowboy to the animal… To the horse, in fact…”
This concept tied in with an old logo for the brand that the creative team found during their research. The logo from the 1970s saw the letters of the Wrangler name forming the shape of a horse. It may have been what Raillard describes as “cheesy”, but it meant that Fred & Farid’s idea of focusing on the brand’s associations to animals had a heritage. They then tested the concept on the target audience, and connected the idea with the culture of the time. “It was a period when we where facing a crisis” says Fred, “everything was collapsing, the banks were collapsing, and in that period of time we all had the feeling that our human society had reached a limit. So it was relevant to highlight that maybe we’d lost something when we lost our animality…”
The slogan WE ARE ANIMALS was decided upon, though Fred & Farid realized that this high concept ran the risk of backfiring if the execution of the ads was too heavy-handed. The key was to emphasize the animal instincts of humans, but in an unexpectede way. “The first thing we decided was to never show any animals…” says Fred. “To not create confusion – we’re talking about human animality, so the big mistake would be to show an animal. Then we thought with such a strong statement, we couldn’t play around, we had to really do it. The whole background had to be animalistic – spontaneous, not too intellectual. So we decided to set up a way of working on Wrangler that was more spontaneous and creative…”
The team decided to avoid too much planning and over-thinking before the shoot, and to employ a photographer who was skilled in attaining a raw, natural quality to their work. “We looked at photographers not from the ad industry but from art” says Fred. “People who in their personal work are passionate about showing human animality, celebrating animality in humans. We choose Ryan McGinley, as already in his personal work he was really driven by the whole idea of our animality…”
McGinley’s shooting style is loose, and his work follows a tradition of documentary photography begun by artists such as Nan Goldin and Larry Clark. He developed his style in the late 1990s by documenting his friends and acquaintances in New York engaging in parties, sex and general hedonism. When he moved to more formal shoots, using models, he retained this naturalistic approach. A shoot of McGinley’s even a commercial one, will usually involve setting up loose parameters and scenarios, but otherwise letting events evolve naturally, with everything captured on camera.
Fred & Farid wholeheartedly embraced this style of working for Wrangler shoot, which took place in the New Jersey countryside over two nights. Twelve models were selected to take part, drawn not from professional agencies but from street-casting. Actors and performance artists were also among those chosen, and the shoot, when described by Fred, has the feel more of an art performance than a commercial exercise.
“It was a crazy shoot!” he says. “People made love in front of us… everybody got crazy for two nights. It was freezing like hell, we were wearing North Face jackets, and they were naked in nature! Everybody was amazing, everybody went for this art experience. We experimented with any idea that anybody had on set…”
Mcginley, and his assistant, Tim Barber, took thousands of photographs over the two nights, according to Fred. “So you don’t even have time to think about anything – any idea that anyone has you experiment with. It’s chaos, complete chaos… and inside this chaos some pearls pop up…”
The shoot resulted in a set of arresting images, which were used to create the posters that stood at the centre of the WE ARE ANIMALS campaign. Beyond the impact of the images themselfs, what is striking about the posters is the lack of overt branding. The brand’s logo appears at the bottom, alongside the tagline, but otherwise the photographs are given room to breathe, a highly unusual approch in billboard advertising today, where brands have a tendency to shout their messages.
Even the product itself is absent from many of the shoot. “We had to convince them” says Fred. “Clients want to show their product, but we really fought to convince them, to get them on board with us that it is more important to bring back the Wrangler attitude and make a connection with a new generation. They would never have done it by showing the denim, because even if it’s great denim, denim is not a surprising product. We all wear denim now…”
The WE ARE ANIMALS print and poster campaign is a great example of pure branding. Fred & Farid used other media to do the less exciting work of the ad campaign – using the Wrangler website to provide the vital product information, for example – but insisted that the posters be more ambiguous. It was a risk strategy that ultimately paid off for the jeans brand, injecting it with an edge and attitude that allowed Wrangler to stand out within an extremely crowded market.
Wrangler Jeans print advertising campaign, “We Are Animals”, won the Grand Prix for Print at Cannes International Advertising Festival.
The Wrangler campaign was developed at FFL Paris by executive creative directors Fred & Farid (Frederic Raillard and Farid Mokart), art directors/copywriters Julie Louison and Perinne Durand, copywriters Baptiste Clinet, Nicolas Lautier, Philippe Pinel, Frederick Lung. Filming was shot by Ryan McGinley, known for his nude films.
Have you ever noticed that the first TV and Press Grand Prix were italian?
Posted: June 14, 2012 Filed under: Awards, Cannes Lions, Italy, Legendary, Press/Outdoor, TV/Film | Tags: cannes festival, Chlorodont toothpaste, grand prix, Il Circo, Italy, Levi's, Lion, McCann erickson, Outdoor, TV/Film Leave a comment »1954. European cinema contractors launch the Festival to celebrate great cinema advertising. The first Cannes Grand Prix goes to a spot called “Il Circo” from Italy’s Ferry Mayer for Chlorodont toothpaste.
1992. The Press and Poster category introduced. McCann-Erickson Milan is awarded first Grand Prix in the category for its Levi’s campaign.
Advertising Agency: McCann-Erickson Italia
Creative Director: Milka Pogliani
Copywriter: Alessandro Canale
Art Director: Stefano Colombo
Photographer: Graham Ford
Good Luck Italy.
Canon EOS – Photochains
Posted: January 13, 2012 Filed under: Australia, Cannes Lions, Case History, Digital, Direct, Promotion, TV/Film | Tags: Andy DiLallo, Canon, Case History, Digital, Direct, EOS, grand prix, Jay Benjamin, Leo Burnett, photochains, photography, Promotion, world of eos Leave a comment »
Insights, Strategy & the Idea
Our brief was to promote Canon EOS, a leading brand of DSLR cameras. We began with a simple insight that great photography is not about technology, it is about inspiration. Our solution was ‘EOS Photochains’ – A new way for people to be inspired, that would literally spread from one photographer to the next as a new creative experience. By transforming photography from something people traditionally do on their own into a unique way to connect with others, Photochains is growing as its own social network of photography, and a new creative experienceWe began with a simple insight that great photography is not about technology, it is about inspiration. Our solution was ‘EOS Photochains’ – A new way for people to be inspired, that would literally spread from one photographer to the next as a new creative experience. By transforming photography from something people traditionally do on their own into a unique way to connect with others, Photochains is growing as its own social network of photography, and a new creative experience.
Creative Execution
Photochains was created by integrating the advertising, live social media network and photographers as one:
Our first step was to create a photochain, which we showcased in national television, print and online advertising. This directed people to the photochains website, where they could upload photos to continue the chain we had started. Once online, people could also start their own photochains, or join those created by others. People soon became the medium for the campaign, inviting friends, family and colleagues to join their photochains. As the photochains network grew, we ran real photochains and the photographers who had created them, in our national advertising. This constantly showcased the live network of photochains, integrating the growing community with the advertising itself, as a way to constantly attract a growing audience. Photochains is now growing as its own social media platform, which continues to grow with every photo.
Results and Effectiveness
Photochains has created a new way for photographers to connect through photography, as well as a new dialogue between Canon EOS and the photographic community:
- 94 photos uploaded every day since launch, which is 4 photos an hour
- 12 minutes average time on website
- Over 20,000 photos uploaded from around Australia to date
- Canon EOS has risen to a record 67% market share in Australia since launch
Advertising Agency: Leo Burnett, Sydney
Executive Creative Director: Andy DiLallo, Jay Benjamin,
Creative Group Head: Michael Canning
Art Director Kieran Antill
Digital Creative Director: Kieran Ots
Year: 2010
Lions Grand Prix for Media
Gold, Silver and two Bronze awards in the Direct category
Silver award for the Promo and Activations category
Silver award in the PR category
Nedbank – Power to the people (the world’s first Solar Powered Billboard)
Posted: November 24, 2011 Filed under: Cannes Lions, Case History, Direct, Press/Outdoor, Social, South Africa | Tags: Billboard, Brad Reilly, Case History, energy, grand prix, Julian Watt, Nedbank, Net#Work BBDO, Outdoor, Power to the people, the world's first solar powered billboard Leave a comment »
Generallly billboards are viewed as visual pollution. So we created a billboard that actually gives back to the community. By attaching solar panels, the billboard is able to supply energy to the school that feed 1100 kids, in one of South Africa’s poorest townships. This socially-aware approach to outdoor not only changes the public perception of billboards, but also builds the brand personality of our client, Nedbank, who through social upliftment projects are seen as the bank that cares about more than just money. Their payoff line, “Make Things Happen” is elevated from mere words into a tangible demonstration.
This billboard was the first of many that are being rolled out across South Africa in an attempt to create advertising that makes a real difference.
Apart from the value to the community and the 1100 kids that are being fed daily with the help of the power supplied by the billboard, the piece received extensive coverage in the mainstream media (beyond the “media and marketing” pages) with numerous write-ups in national publications, coverage on national radio and television news. It was also picked up by Contagious Magazine as a leading example of branded utility. All this “talk value” has played an invaluable role in the establishment of Nedbank as the bank that cares about more than just money.
According to AdAge, What ultimately swayed the jury in the favor of the NedBank “Power to the People” work was that the solar power being collected by the billboard was helping to power several community buildings, including a schoolhouse. That the work made a difference in the community made all the difference to the jury. At a time when it is so common to have short-term promotions, that the “work that continues to work and continues providing” was key”, said jury chair Jean-Remy Von Matt, founder-chairman, Jung Von Matt, Hamburg.
Advertising Agency: Net#Work BBDO, South Africa
Creative Directors: Julian Watt
Art Director: Jonathan Santana
Copywriter: Brad Reilly
Year: 2007
Grand Prix
10 Best Japanese Commercials
Posted: July 20, 2011 Filed under: Alcoholic Drinks, Cannes Lions, Japan, Legendary, TV/Film | Tags: 10 best commercials, Animation, beauty bowling, big test, bronze lion, Cannes Lions, carre de chocolat, Champagne Nicolas Feullatte, cup noodles, Dentsu, funny, giant squid, gold lion, grand prix, Hakuhodo, Hideyuki Tanno, Hiroshi Sasaki, Hiroyo Kanehako, humanity, hungry?, husky girls, Japan, jinomoto Stadium, Jun Kawanishi, Katsunori Tsuyama, Kuzohiro Suda, long distance, mammoth, moa, nike music shoe, nissin, non blinking woman, Panasonic Oxyride Battery, primitives, Quetzalcoatlus, sagami robber, Satoru Yokoyama, Secam Home Security, silver lion, stink, Susumu Miyazaki, toast men, Tohokushinsha Film Corporation, Tonomi Maeda, Toshikazu Ieda, toyota, TV/Film, Unitatherium, Wieden+Kennedy, Yuya Furukama Leave a comment »1 – Sagami Robber Industries – LONG DISTANCE
Publicising the product benefits of Sagami Original, the world’s thinnest condom at just 0.02 mm. By communicating a “love” theme, we were able to build an aimiable brand image that differed from other competitors. We used a real long distance couple from the entries received and asked them to run a 1000 km marathon.
The goal is for the two to embrace. When they do embrace, the distance between them, that began at 1,000,000,000 mm is now 0 mm..”.. and yet love needs distance”, is inserted, and the distance is pushed back to 0.02 mm. Thus the benefit of the world thinnest condom.
Advertising Agency: GT, Tokyo
Executive Creative Director: Takahisa Mitsumori
Copywriter: Naoki Ito
Art Director: Naoki Ito
Production Company: Rock & Roll, Tokyo
Director: Kan Equchi
Year: 2009
Gold Lion
2 – Nissin Cup Noodles – HUNGRY? Campaign
MOA
A tribe of primitive men in search of food chase a Moa bird. It leads them to the edge of a cliff where the Moa jumps into the air and the men fall over the precipice.
SYNTHETOCERAS
A tribe of primitive men in search of food chase a Synthetoceras into a hole. It repeatedly pops its head up in a different hole, thus exhausting its pursuers.
QUETZALCOATLUS
The primitive men pretend to be Quetzalcoatlus babies and beg for food, but once again they fail.
MAMMOTH
UNITATHERIUM
The primitive men are all over the Unitatherium, like bees on a honeycomb. Will they win at last? Not this time.
GIANT WARTDOG
GIANT SQUID
FISHING
In which a well-known prehistoric family go fishing. Father is let down over a cliff’s edge on a baitless hook … Hungry? Try Nissin Seafood Cup Noodles.
HARVEST
In which our prehistoric family try to get some fruit by beating a tree with a club. Fruit falls down. So does a sabre-toothed tiger … Hungry? Try Nissin Cup Noodles.
SNEAKING THIEF
In which the father of our prehistoric family spies some meat by the sleeping sabre-toothed tiger. But as he tries to grab it, the tiger awakes … Hungry? Try Nissin Cup Noodles.
Advertising Agency: Hakuhodo, Japan
Creative Director: Susumu Miyazaki
Copywriter: Tonomi Maeda
Art Director: Kuzohiro Suda
Production Company: Tohokushinsha Film Corporation
Director: Shinya Nakajima
Year: 1993, 1994, 1995, 1996
Grand Prix/Gold Lion/Silver Lion/Bronze Lion
3 – Morinaga & Co. Carrè de Chocolat - NON-BLINKING WOMAN
We made this commercial to show the appeal of “Carre-de-chocolat”, meltingly velvety authentic chocolate, particularly to married women in their 30s. The concept behind the product is that it can be enjoyed as part of relaxing moments in between their busy household work. The ad was very successful and “Carre-de-chocolat” has become a main brand in the chocolate category, even though it was a generic product.
Advertising Agency: Dentsu, Tokyo
Creative Director: Yoshiro Sato
Copywriter: Makoto Shinohara/Tsunao Arita
Production Company: Mothers, Tokyo
Director: Jun Kawanishi
Year: 2008
Bronze Lion
4 - Toyota – HUMANITY
The film takes the form of a simple flowing narrative drive of a Toyota car through an urban/suburban environment. Whilst the film takes an elegant and traditional filmic approach in its portrayal of the car and its surroundings, various details and features of the Toyota range cars are depicted with a more bizarre twist. Instead of seeing the exact technical nature of the design features of the car, each item is depicted in a much more personal way using human “experts” to represent the function on show.
Advertising Agency: Hakuhodo, Tokyo
Creative Director: Hideyuki Tanno/Tetsuya Tokimatsu/Masahiko Ishii
Copywriter: Tetsuya Tokimatsu
Art Director: Hideyuki Tanno
Production Company: Stink, London
Director: Ne-o
Year: 2006
Silver Lion
5 – Champagne Nicolas Feullatte – TOAST MEN
In this commercial for Champagne Nicolas Feuillatte, scientists search for stronger glasses with which to give toasts. On behalf of Nihon Shurui Hanbai, we wanted to say to everyone, “many cheers!”
Advertising Agency: Dentsu, Tokyo
Creative Director: Yoshimitsu Sawamoto
Copywriter: Mayu Taguchi/Sohei Okano/Yuriko Taki
Art Director: Hideyuki Tanno
Production Company: Dentsu Creative X, Tokyo
Director: Jun Kawanishi
Year: 2011
Bronze Lion
6 – Nike – NIKE MUSIC SHOE
Nike launched NIKE FREE RUN+, the new addition to the NIKE FREE footwear line in late March 2010. The main communications campaign conveyed the new model’s incredible flexibility with the tagline “Free like feet want to be”. Nike Japan further wanted to develop an idea that creates buzz about the shoe’s flexibility and NIKE+ compatibility. The idea was the NIKE MUSIC SHOE. Why not make a real musical instrument utilising the shoe’s unique bending features and create a soundtrack with it? The music performance was commissioned to breakbeats unit HIFANA, who collaborated in the creation of the instruments and also wrote the song.
Advertising Agency: Wieden+Kennedy, Tokyo
Creative Director: Frank Hahn/Naoki Ito
Copywriter: Hiroshi Kuyama/Takayuki Rokutan
Art Director: Shingo Ohno/Naoki Ga
Production Company: Taiyo Kikaku, Tokyo
Director: Kosai Sekine
Year: 2010
Bronze Lion
7 – Secam Home Security – THE BIG TEST
SECOM Home Security Service offers various individualised services, and closely watches over the safety and security of their customers 24 hours a day, 365 days a year. In this commercial, we showed the importance of having a security system by highlighting the fact that not everyone can resist the temptations right in front of them.
Advertising Agency: Dentsu, Tokyo
Creative Director: Hiroshi Sasaki
Copywriter: Yoshimitsu Sawamoto
Art Director: Naoki Ito
Production Company: Geek Picture, Tokyo
Director: Akira Nagai
Year: 2008
Silver Lion
8 – Panasonic Oxyride Battery – MANNED FLIGHT
Powering a plain with household batteries.
Advertising Agency: Hakuhodo, Tokyo
Creative Director: Katsunori Tsuyama/Satoru Yokoyama/Toshikazu Ieda
Copywriter: Toshiya Inoue/Kan Ishii/Kosuke Masuda
Production Company: Hat, Tokyo
Director: Kaoru Yamaguchi
Year: 2007
Bronze Lion
9 – Ajinomoto Stadium – HUSKY GIRLS
A young man has moved to a new town. He finds all the women there very beautiful, but their voices are hideously hoarse from cheering.
Advertising Agency: Dentsu, Tokyo
Creative Director: Yuya Furukama
Copywriter: Hiroyo Kanehako
Art Director: Hiroyo Kanehako
Production Company: Dentsu TEC, Tokyo
Director: Jun Kawanishi
Year: 2005
Silver Lion
10 – Esthe Wam Hair Removal – BEAUTY BOWLING
For women, being beautiful is about keeping challenging themselves. This ad shows the tragedy of a woman at a beauty championship who failed to take care of herself. It expresses how one single hair can divide the winner and the loser by using the game of bowling by communicating that their body would be perfect with Esthe WAM because they offer professional care during and after the treatment.
Advertising Agency: Dentsu, Tokyo
Creative Director: Yuya Furukawa
Copywriter: Moto Takagi
Art Director: Masahide Yoshimi
Production Company: Tohokushinsha Film Corporation, Tokyo
Director: Masahiro Takata
Year: 2005
Bronze Lion
