Court TV’s Parco PI – That Girl Emily


To generate a buzz leading up to the season premiere of Parco PI on the American network Court TV (now truTV), a show that revolved heavily around the subject of adultery, a campaign was conjured up that – at first glance – looked like every cheating man’s worst nightmare. A fictitious character called Emily seemed set on exposing her husband’s adulterous ways for the whole world to see and having her revenge. In a blog Emily drew readers into the story of how she came to realize that her husband was cheating on her. Within several days, the blog had received over a million hits and Emily was getting requests for media appearances at a national level. The narrative laid the foundation for a series of billboards on which Emily declared “Fourteen Days of Wrath” against her cheating husband, Steven. Four of the Fourteen Days of Wrath were actual staged events in New York City. When Emily threw out her cheating husband’s belongings, the drama was captured on a hand-held camcorder and uploaded to video-sharing sites.



The campaign as a whole was covered by over 200 news sources on-air, online and in print.


Public Hath No Fury, Even When Deceived

From New York Times. By Julie Bosman (July 24, 2006)

It was the pitch-perfect vengeful Dear John letter, blown up on a billboard in the middle of Manhattan by a furious and apparently deep-pocketed spouse.

“Hi Steven,” it began, cheerily enough. “Do I have your attention now? I know all about her, you dirty, sneaky, immoral, unfaithful, poorly endowed slimeball. Everything’s caught on tape. Your (soon-to-be-ex) Wife, Emily.”

The billboard created interest, and not just from an unfaithful Steven. A booking agent from “Good Morning America” sent an e-mail to Emily inviting her on the show. British Glamour wanted to make her the subject of a feature article.

But when pictures of the billboard proliferated on Gawker, Defamer and other blogs, readers quickly dug in. One fact soon emerged, thanks to camera phone pictures: the billboard was identical to others in Brooklyn, Los Angeles and Chicago. Someone else discovered that Emily was keeping a blog,, detailing Steven’s infidelities. More digging showed that one Emily blog entry was oddly similar to a synopsis for an episode of “Parco P.I.,” a reality show on Court TV.

Another “source” sent an e-mail to Gawker suggesting that Court TV was behind the signs, pointing out that it was a viral marketing campaign to promote one of its programs. Mystery solved.

The bad news for viral marketers who use these kind of devices: executives at Court TV said they did not really want to be discovered so quickly. The good news is that even after the ruse was discovered, people visited the Emily blog, pushing it to one million hits by the end of Thursday. A fake surveillance video on the blog, supposedly from a private eye capturing Steven holding hands with his paramour, hit YouTube and became one of its most-viewed videos. Did it even matter that Emily was fictitious?

“Emily is really an amalgam of all of us who have been cheated on,” said Marc Juris, general manager for programming and marketing at Court TV. “Clearly, this really resonated with people.”

Whether it resonates into higher ratings for “Parco P.I.” is another matter. The “Emily” ruse was originally intended to be a stunt to help promote the start of the show’s new season on Aug. 15, but Court TV’s marketing group liked the idea so much that they made it a large part of the campaign. The second phase — ads for the show to be stamped over the original billboards — was to start next Monday, but Court TV moved it up to July 26 after all the attention.

Mr. Juris was still marveling: “It’s like a flash investigation took place, and within 24 hours we were busted.”



Advertising Agency: Amalgamated NYC, USA
Copywriter: Tommy Noonan
Copywriter: Jon Yasgur
Account Manager: Judy Goldfarb
Creative Director: JASON GABORIAU
Creative Director: Doug Cameron
Year: 2006

TBWA/Berlin for adidas – A Giant Case History



Just before the start of the UEFA Euro 2008 football tournament, adidas turned one of Vienna’s best-known landmarks, the Prater ferris wheel, into a huge image of the Czech national goalkeeper, Petr Cech. At a whooping 53m tall, this gigantic installation was visible far beyond the Prater entertainment park and the nearby public viewing sites. In the installation, Cech had eight arms that constantly rotated with the ferries wheel. The erection of the metal construction started on May 13 and was finished just before the launch of the tournament on the night of June 5, 2008. This advertising landmark also hosted the official adidas press conference prior to the tournament.


Advertising Agency: TBWA/Berlin
Creative Director: Stefan Schmidt
Creative: Marco Bezerra, Emiliano Treierveiler



Oliver Kahn Poster Presentation

If you travelled to Munich for the first game of the FIFA World Cup in 2006, chances are you saw this huge installation, which shows an enormous Oliver Kahn (the then German national team goalkeeper) diving across the motorway. The 65-m installation managed to bypass the law forbidding advertising on the German Autobahn, and was the only piece of advertising adidas conducted in Germany during the tournament. Over 4 millions people commuted through the installation and many more saw it in the press. In its first week the Oliver Kahn bridge was displayed on double-page spreads in leading magazines including Focus, Stern, Autobild and Fortune. It was also picked up by newspapers including the New York Times and the Financial Times.



Advertising Agency: TBWA/Berlin
Creative Director: Stefan Schmidt, Kurt-Georg Dieckert
Creative: Helge Bloch, Boris Schwiedrzik




For the duration of the UEFA EURO 2008 football tournament, TBWA/Berlin transformed the main hall of Zurich’s Central Station into a large-scale celebration of team spirit. Eleven European football players (all sponsored by adidas, naturally) formed the Impossible huddle. The bodies of the footballers represented were 3D-scanned as were their faces and hairstyles, to ensure that the sculptures were faithful to the originals. It took 40 trucks to move the installation components from the production sites in southern Germany to Switzerland, where they were assembled in the station.


The Swiss rail authority reported that an estimate 13 million people passed through the station during the three-week period the sculptural installation was in site, and at 17m high and approximately 30m wide, it was impossible to miss. Add to this the fact that various news titles such as the Financial Times, Die Welt, Gazzetta dello Sport, Le Parisien and the BBC featured the campaign on their front pages or online editions, plus the fact that it was picked up by dozens of blog worldwide.




Advertising Agency: TBWA/Berlin
Creative Director: Stefan Schmidt, Markus Ewertz
Creative: Erik Gonan, Hendrik Scweder




During the German-hosted 2006 FIFA World Cup, adidas wanted to get across the message that they cooperate with the best football players on the planet. Rather than run a traditional poster campaign, the creatives at TBWA/Berlin decided it would be far more impressive to create a huge Renaissance-style fresco on the ceiling of the main lobby of Cologne Central Station. Within minutes of the fresco’s unveiling, it was featured on national German Television and press covered it throughout the World Cup. More than 8.5 million people saw the frersco in the flesh during the course of the tournament.




Advertising Agency: TBWA/Berlin
Creative Director: Stefan Schmidt, Kurt-Georg Dieckert
Creative: Helge Bloch, Boris Schwiedrzik

Monopoly in advertising


Monopoly – New York/London/Madrid


Advertising Agency: DDB Spain
Year: 2005


Monopoly – “Own it all” Campaign





Advertising Agency: JWT Frankfurt
Year: 2009


Monopoly – A Real Game





Advertising Agency: DDB Madrid
Year: 2008


Monopoly – Mansion/Jail



Advertising Agency: Grey Chile
Year: 2007


Monopoly – Be careful where you land



Advertising Agency: TBWA Singapore
Year: 2007


Monopoly – Building Branding



Advertising Agency: DDB Lisboa
Year: 2006


Monopoly – Barcelona Edition/New York Edition



Advertising Agency: DDB Madrid
Year: 2006


Monopoly – Before/After Campaign




Advertising Agency: Grey Chile
Year: 2006


Monopoly – The Here & Now Edition






Advertising Agency: Grey New York
Year: 2009


Monopoly – “Be a Player” Campaign




Student project by Alexandra George and Candice Countryman. 
Year: 2011


Monopoly – Ambient


Student project by Miami Ad School, Madrid
Year: 2010

Droga5 for Marc Ecko – Still Free: the story of an impossible tag

“I wanted to do something culturally significant, I wanted to create a real pop-culture moment. It’s this completely irreverent, over-the-top thing that could really never happen:this five-dollar can of paint putting a pimple on this Goliath”

This is the story of a viral succes that plays on the fine line between reality and fiction. It came from New York fashion designer Marc Ecko.

In a video on his site he was shown creeping up to Air Force One and spray-painting it with the words “Still Free”. When the film was released, several inconsistencies were found in the footage, and it was later revealed that a real plane was not vandalized. Ecko’s company had rented a 747 cargo jet and painted one side of it to look like Air force One.

In a separate video on the same website, Ecko explained that he had tagged the plane in protest against the strict anti-graffiti laws in many American city including New York. In some cases it has been made illegal to carry or purchase wide-tipped markers or spray paint. “No elected official gets to decide what is art and what is trash…” Ecko said. “Since then I’ve learned that there are cities all over this country with laws that restrict kids who want to pursue legal art inspired by graffiti… The President’s highest responsability is to protect our freedom, and the first among those is our right to speech. That’s why I tagged the President’s plane… The President can’t fly around like a rock star, talking about how America is the greatest country in the world, but ignore what makes it great…”

The Video

Case History

Behind the Scene

Advertising Agency: Droga 5
Creative: David Droga, Duncan Marshall, Jeski Takaharo
Production Company: Smuggler NY
Director: Randy Krallman
Year: 2006

AMC/Zombie Experiment NYC – Could Zombies Live Among Us?

Zombie postmen. Zombie hot dog vendors. Zombie construction workers. It’s no wonder even the dogs of New York are completely freaked out.

AMC Networks Inc. doesn’t want fans to forget that its flagship channel AMC, home of “Mad Men” and “The Walking Dead,” has been off Dish Network Corp.’s satellite TV systems for a month. So it’s resorting to some zombie-tastic marketing.

AMC put up a YouTube video entitled “Zombie Experiment NYC” with the caption “Could zombies live among us?” The video, created by Thinkmodo, a New York-based viral marketing firm hired by AMC for this project, shows the process of painstakingly outfitting about 13 actors in gory, gut-twisting zombie makeup and letting them loose throughout New York City–much to the horror of innocent bystanders.

“The makeup took forever to apply,” said Michael Krivicka, co-founder of Thinkmodo, who said the shoot spanned the course of eight days. “One person was eating a sandwich and dropped the sandwich to the ground once she realized the hotdog vendor was a zombie.”

At the end of the video, one zombie creepily drags a Dish satellite dish behind it, and bright block words appear on the screen: “Zombies don’t belong here. Put them back on TV.” The video then directs viewers to, AMC’s website advertising that Dish has dropped AMC and the popular zombie drama “The Walking Dead,” which starts its new season on October 14. The video comes about a month after Dish dropped AMC’s channels, which include AMC, We TV, IFC and Sundance Channel. At the time, Dish cited the channels’ high cost compared to their relatively low viewership among Dish subscribers, though AMC said Dish was attempting to gain leverage in an unrelated lawsuit between the two companies. The dispute has kept AMC and its sibling channels off the TV lineup for Dish’s 14 million satellite subscribers, cutting into the ratings for the channels.

AMC says more marketing like this is on the way to raise awareness of the situation among current and potential Dish customers.

Only two days after its posting, the “Zombie Experiment” video already has more than 650,000 views on YouTube, fulfilling the viral message AMC was going for. Have a look at the reactions of New Yorkers confronted with realistic zombies below.

Advertising goes to Hollywood


Advertising Agency: Saatchi & Saatchi UK
Year: 1999


Jurassic Park 3


Advertising Agency: Young & Rubicam Thinking, New Zealand
Year: 2002



Advertising Agency: Giovanni FCB, Brazil
Year: 2003



Advertising Agency: DY&R Wunderman, Singapore
Year: 2004

Advertising Agency: Amsterdam Advertising
Year: 2004



Walt Disney had one of the biggest challenges ever: launch “Finding Nemo”, the much – anticipated fourth movie from Pixar Studios. It had been launched already in America and the box office of the opening weekend was the highest ever for an an animation movie. We were under a lot pressure to equal this success.

“Finding Nemo” is a movie for the whole family, but its main target audience is children. Thinking of that, we created a way of “playing” with the kids through the movie’s name. We create an activity where we had a stand with a girl handing over empty “fish bags”. The child would look inside the fish bag and notice that there were no real fish, only ones saying “Finding Nemo – July 4th only in theaters” The stands were set places such as shopping malls, playgrounds, schools, parks and kids’ birthday party venues. The name of the movie worked as a teaser itself, so we found a media that enhanced the impact on the target, because it was where the kids were and offered them a “gift”. We caught the attention of the target audience and aroused the curiosity of the kids to look for the fish called “Nemo”. We worked with two guaranteed things for children: awareness (everybody knows.) and curiosity (I need to find out..)

It was a specific media idea, which impacted the target audience in different atmospheres, without any dispersion, urging them to look for “Nemo”. It supported the mass media campaign and helped us to have a closer, and more effective, contact with our target. Also, it generated a lot of “free media” through magazine, newspaper and internet news.
The action had a low absolute cost, and an even lower CPT (cost per thousand) person impacted by the communication. The CPT of this action was lower than ony other medium used in the media plan. It was the more profitable one.
The movie had a wonderful opening weekend and became the number 1 Animation Movie here in Brazil too

Advertising Agency: Giovanni FCB, Sao Paulo
Year: 2004



Advertising Agency: Giovanni FCB, Sao Paulo
Year: 2005



 Advertising Agency: Contract Advertising, Mumbai
Year: 2005



 Advertising Agency: Mediaedge:cia, Singapore
Year: 2005



Advertising Agency: Giovanni FCB, Sao Paulo
Year: 2005



Advertising Agency: Unknown
Year: 2007



Stickers were placed on footpath lights around central Auckland. At night when the lights were on, beams of light shone upwards, creating the Bat Signal.

Advertising Agency: Saatchi & Saatchi Auckland
Year: 2007



Advertising Agency: JWT Brasil
Year: 2007
Bronze Lion



Advertising Agency: JWT Brasil
Creative Director: Ricardo Chester
Year: 2007



Disney•Pixar Studios was looking for an innovative way of promoting their big hit in 2006. The communication strategy for promoting the feature film Cars was to be as fun and powerful as the film itself. The idea was to reach the public inside movie theaters in an unique way. We chose an icon from the film’s universe, the airbag, and turned the seats in big movie theatres, like Cinemark and UCI, into veritable car seats.

The objective was to immerse the public into the movie’s atmosphere yet creating great anticipation of the release. It was also necessary to find an unusual way to convey the message to the public in an time in which they were receptive to such message. Disney invaded the main movie theaters in the city by attaching airbags on the backs of the seats. It was a fun teaser announcing the movie’s release.
Like many of the Disney-Pixar movies, the expected audience in Cars were children, adolescents, parents, and adults who like animation and fun. The purpose of the campaign was to captivate adults and instigate children. Due to the fairly high price of tickets, the targets were people from classes A, B, and C.
The concept was a success. The campaign became the talk of the town, kids left the sessions charmed, many of them were asking to take the airbags home. Tickets were sold out in all theaters and the movie ran for more than 5 months.

Advertising Agency: B/Ferraz Full Promoton
Year: 2007



Advertising Agency: Colenso BBDO, Auckland
Year: 2008



Advertising Agency: Saatchi & Saatchi, New Zealand
Year: 2008



Advertising Agency: Saatchi & Saatchi, New Zealand
Year: 2008



The objective of the promotion: To promote the new film TERMINATOR SALVATION.
The Idea: The story behind the entire Terminator saga is that in the near future machines will turn on humans and aim to destroy us all.
To promote the new film ‘TERMINATOR SALVATION’, we created early signs of attacks on humans by the everyday machines that we all interact with inside the malls.

Advertising Agency: DDB South Africa
Year: 2010



Advertising Agency: Auge, Milan
Year: 2011
Bronze Lion



The Hoyts Corporation distributes films across its 55 cinemas in Australia and New Zealand. With the release of SAW VII fast approaching, Hoyts were at a loss on how to create genuine excitement for what was being viewed as ‘yet another SAW film’.
With only a month to go before the prelaunch promotion needed to kick off, our brief was clear:
- Reinvigorate the ageing SAW franchise ahead of its final release.
- Hit the box office target of $2.5m AUD.
Having never run an activation before, Hoyts required a cut through campaign that would justify their decision.

With a tight timeline and a budget of under $50k, we needed to develop a campaign that not only punched above its weight in terms of reach and engagement, but was also quick to market.
Cue the ‘SAW PhotoBooth’. Placed into Hoyts cinema foyers, film-goers were given the opportunity to view the SAW trailer and have a free photo taken. After the trailer finished, the photo countdown began, 3… 2… 1 photo.

Before the photo was taken however, SAW’s frightening antagonist Jigsaw would stick his head into the booth just in time for the photo to capture the terrified reactions!
With the SAW franchise in decline, our focus was to give audiences a taste of what the film had to offer.
Given we were dealing with a Gen Y audience that practically lives online, we felt that by bringing the film to life in a fantastically horrifying way and capturing audience reactions, the reactions themselves would provide the best showpiece for the film.
Our strategy was to develop a micro activation and use the physical engagements from the activation as content for the wider social media campaign, using Facebook and YouTube in particular to carry the conversation across Australia.

The key campaign results from a consumer perspective were as follows:
- 4035 scary cinema experiences (50% over target).
- 111,426 YouTube views (345% over targe

Advertising Agency: Play Communication, Sidney
Year: 2011



This campaign had a bunch of bicyclists riding around town with custom wheels that rotated glowing messaging about the movie opening in the area.

Advertising Agency: Lorem, Sao Paulo
Creative Director: Icaro de Abreu
Year: 2011



Launch of the movie The Hole in 3D directed by Joe Dante. (A pair of brothers stumble upon a mysterious hole in their basement that leads to the darkest corridors of their fears and nightmares.)

Step 1: 2 weeks before: GUERRILLA. Floorstickers with a man falling into an hole were placed all over metro stations in Rome and Milan and in hundred of movie theaters.
Step 2: 2 weeks before WEB. Website about the movie with extra content (trailer, bills, phobias etc..).
Step 3: 10 days before: AMBIENT. Fake legs were added at the floorstickers and at special Billboards.
Step 4: 1 week before: EVENT. A black container was placed in the center of Milan and people were invited to challenge their fears. An infrared-cam recorded people’s reactions and the videos were uploaded on youtube and facebook.
Step 5: PROMOTION. Limited edition t-shirts (showing different fears to fight) were produced. People could win them entering the container.
Step 6: GADGETS. Fluorescent bracelets were given during the days of the event.
Step 7: 2 days before: 3D PRINT. Special 3D print was published on free press “On Stage”. 3D glasses were distributed with the magazine.

Advertising Agency: Auge, Milan
Year: 2011


Coca-Cola – Rivalry Wallet

A lost wallet in a stadium box-office containing a ticket to the next important derby belonging to a fan of the opposite team. Would you give it back?

Coca Cola believes in a better world. To prove it they left a wallet on the floor of Benfica’s soccer club Megastore. Inside the wallet they planted a rival club’s ticket and it was just a few days before the match. What do you think it happened? Actually, a surprising 95% returned the wallet and they got a ticket to the match as a reward.

Advertising Agency: O escritório, Portugal
Creative Director: Nuno Jerónimo
Year: 2011

Knorr Cupsoup – Frosty Window

Brief and strategy
The communication goal was to establish, both literally and figuratively, a warmer connection between Knorr and Japanese customers, enhancing Knorr’s brand image. Because the budget for the campaign was quite small, we needed to make big impact through a surprising campaign. The insight is timeless: when people are cold, they want something warm to eat and drink. With that insight in mind, we also sought a touch point where the target could ponder the pleasure of warm soup on a cold day, without shivering in the cold. We aimed to give people a true sensation of sitting next to a cup of warm soup on a cold winter day.

Creative Executions
Our media choice was unique: train windows. Our creative material was special stickers that, when placed on the windows, gave the impression of condensation caused by a streaming cup of soup. In the midst of the “condensation” apparently written with a finger, was the product message. We placed these ads in a cold, snowy region during the winter, so the real landscape beyond the train windows became part of the creative, too. Using train windows as the medium offered us two key advantages. First, passengers had to move from the cold outdoors to get into the warm train, so the sensations of cold and warm were fresh in their minds. Second, during a train ride, passengers spend much time observing their surroundings. The unique creative stirred people’s curiosity, becoming a topic of conversation inside the cars. Many passengers used cellphones to take pictures of it.

With a budget of only US $10,000 for creative, production and media, we exposed this advertising to approximately 600,000 passengers. Since passengers interacted with the creative intimately, the campaign had the desired effect of establishing a warmer bond between the Knorr brand and its customers.

Advertising Agency: Hakuhodo, Tokyo
Creative Director: Mutsumi Bando
Creative: Makoto Fujita
Year: 2005
Gold Lion

Ogilvy Mexico for Mattel – Little car, great unconventional ideas

Matchbox Toy Car – LITTLE HAND

To promote the fact that Matchbox makes the most realistic scale model toy cars.
Creative execution
We developed stickers of human hands that were placed on different car windows, on parking lots, malls, toystores, supermarkets and streets. The position in which the fingers were placed simulated the hand of a kid grabbing the car, as if he is about to play with it
This effort helped create brand awareness, primarily by word of mouth and media exposure.

Creative Director: Miguel Angel Ruiz
Copywriter: Daniel Gonzales
Art Director: Gonzalo Villegas, Demian Najera
Year: 2007

Hot Wheels – STANDS

Hot Wheels needed one new-media space that could interact closer with kids allowing the new strategy to be positioned: “Hot Wheels has all the adrenaline and speed of car races in scale”.
Creative execution
Mexican boys are used to getting together with friends in the streets and park squares to play “the little road” on the sidewalks. Starting off from this insight, we developed stickers pretending to be people seated watching a car race but in a similar scale to the Hot Wheels Cars. These items were stuck where this “little road” game took place; then kids played and experienced the new brand strategy.
This action increased the brand awareness and made sales grow up to 30% versus the former year.

Creative Director: Miguel Angel Ruiz
Copywriter: Sandra Flores
Art Director: GIvan Carrasco
Year: 2008

Matchbox Toy Car – EYE/FINGERNAILS

Creative Director: Miguel Angel Ruiz
Copywriter: Miguel Angel Ruiz, Rafael Martinez, Luis Elizalde
Art Director: Ivan Carrasco, Gerardo Arias
Year: 2008

Hot Wheels – BIG BOY

Insights, Strategy & the Idea
Hot Wheels is a loved mark in Mexico. The challenge was to make an innovative Outdoor.
Creative Execution
Everybody has had a little car in the hands. This time, Hotwheels make people feel as a little car, with a really big boy outdoor looking at them. The outdoor was installed in a very transit avenue, at México City.
The reaction was impressive. It was impossible not to look at the huge image. This piece have thousands of really quality impacts per day.

Creative Director: Miguel Angel Ruiz
Copywriter: Abraham Quintana
Art Director: Ivan Carrasco, Mario Salgado, Jaime Gonzales
Year: 2010
Bronze Lion

Hot Wheels – SPEEDWAY

Insights, Strategy & the Idea
Hot Wheels is a brand that creates great experiences and amazing creative advertising, this way, fathers and children can identify our brand and make it his own.
Our target enjoy speed and challenge, they have the perception that Hot Wheels are small cars that help to express this.
The idea works because nobody can ignore this and everybody wants to tell his friends or relatives how amazing it can be.
The consumer feels part of Hot Wheels, being part of a toy that is generating a brand experience.
Creative Execution
Two giant children shape structures were placed in Mexico-Cuernavaca speedway. They make you live the experience of being inside a Hot Wheels.
Results and Effectiveness
We continued with the leadership brand positioning, communicating their goal about not selling a product but the fame that Hot Wheels obtained through an ad.
This caused that this piece of communication were mentioned in blogs, social networks, websites and local media. This was not only an outdoor piece, there were also all sorts of unpaid mentions covering different targets we wanted to achieve.

Creative Director: Miguel Angel Ruiz
Copywriter: Carlos Meza, Sergio-Diaz Infante
Art Director: Ivan Carrasco, Francisco Hernandez
Year: 2011

Hot Wheels – TRACKTAPE

For more than 40 years, Hot Wheels products have been a children´s favorite. Although extremely fun, tracks don´t have the immediacy and portability of playing as cars do. How to invite kids to play with Hot Wheels cars and tracks whenever, wherever? We developed the Track Tape. A simple, economic and fun product that allows kids to transform every place into a true race track. Besides, the Track Tape works as advertising, placed exactly where the target is by the own target market

Chief Creative Officer: José Montalvo
Executive Creative Director: Miguel Angel Ruiz Reyes
Creative Director: Victor Alvarado/Fernando Carrera
Art Director: Victor Alvarado/Fernando Carrera
Copywriter: Fernando Carrera/Victor Alvarado
Year: 2011
Bronze Lion

SportScheck – Sporty Vouchers

Midway through the winter sports season, in January 2011, SPORTSCHECK Frankfurt asked for an impactful idea to drive sales of winter sports equipment and to remind Frankfurt citizens that snow can be great fun. Nobody likes scraping snow and ice off their cars every morning. How we can use this unpopular snow to show the bright side of winter?

With unique use of media, we transformed snow-covered cars into skid-marked ski slopes. Miniature snowboarders and skiers show the fun side of winter – and are also giving out discount vouchers for winter sports equipment from the new SPORTSCHECK store in Frankfurt. These appealing vouchers tell the story of great winter sport action on the roofs of people’s cars. They are as impactful as the SPORTSCHECK TV commercial, and convey the SPORTSCHECK message of “Wir machen Sport” (“We do sport”) in a simple, engaging way.

We distributed 2,500 vouchers in Frankfurt, of which 23.6 % were redeemed in store. This increased sales by up to 17.2%. The citizens of Frankfurt liked the idea and took pictures of it. These vouchers inspired our target audience to do more winter sports.

Advertising Agency: Ogilvy, Frankfurt
Executive Creative Director: Michael Kutschinski
Creative Director: Uwe Jakob
Copywriter: Christian Urbanski
Art Director: Christian Urbanski
Designer: Uwe Jakob


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