MINI UK – Climbing MINI
MINI Canada – Corner
MINI Canada – Union Jack
MINI Canada – Luge
MINI Canada – Agrippez-vous
MINI USA – 3D Robot
MINI Cabrio – YO-YO
Advertising Agency: D’Adda, Lorenzini, Vigorelli, BBDO
Creative Director: Giuseppe Mastromatteo, Luca Scotto Di Carlo
Copywriter: Cristino Battista
Art Director: Dario Agnello
Photographer: Armando Rebatto
MINI Canada – Let There Be Xenon
MINI JAPAN – Missing
To build and to maximize a new value of Mini in a Japanese way, and to arouse interest and attract attention toward Mini from not only Mini fans but also from those who had no interest. Taking an opportunity of the updated New Mini launch on the “Mini Day (promotional anniversary in Japan)”.
The creative execution
To describe the New Mini’s exciting charm by putting it into the Japanese favourite “Manga” story-”the New Mini escaped with its own will.”
To expand the New Mini’s fascination and to generate penetration in the market by involving the Japanese audience into Mini’s escape story in the theatrical campaign. The campaign was aimed at 35-49 year olds the liberals of high society. It is the progressive trendsetter that becomes the core target as they invent the fashion. The campaign is developed mainly on Outdoor advertisement and website, without using other mass media. However it was taken up by TV, magazine and outdoor advertising. The story development of the campaign succeeded in having not only a simple recognition of the product but also a deeper personal communication.
Advertising Agency: ADK, Tokyo
Creative Director: Tatsuyuki Hamada
Copywriter: Keisuke Yosahida
Art Director: Toshiaki Oikawa
MINI COOPER S – Base Jump
In 2006, the MINI was re-launched. Its key feature: more power. And while the new engine creates the familiar “go-cart feeling”, a simple switch of the (tiptronic) button to the “Sport” mode causes the power steering and the gas pedal to respond even more directly. The re-launch’s campaign slogan was “Incredibly MINI. The new MINI.“ And when MINI says “incredible”, they mean incredible. As incredible as a jump from one rooftop to another.
On the one side the ramp, on the other the brand-new MINI Cooper S: for every driver crossing the bridge near this twin high-rise, it had to look as if the car had just achieved such as spectacular feat. Which lent an air of nitty-gritty realism to the message “Incredibly MINI. The new MINI.” And gave a powerful boost to the whole campaign.
The target audience for this campaign was “postmodern trendsetters”, i.e. fun-loving people with a penchant for thrills and spills. Among their values and life goals are independence, spontaneity, rejection of norms, self-realisation, fun and action. The MINI installation was perfectly attuned to this group and their search for the uncommon and sensational.
The “MINI Base Jump“ campaign caused quite a stir, both among the media and the people driving by the spectacular sight every day. The promotion’s aim was to invite people to go for a test drive at their nearest MINI dealership – because statistics show that 60% of those who try one, buy one.
Advertising Agency: Jung von Matt AG, Zurich
Executive Creative Director: Alexander Jaggy
Creative Director: Michael Rottmann
Art Director: David Hanselmann
Copywriter: Thomas Amman
MINI Malaysia – Loop
MINI Canada – MINI Vending Machine
2011 brought on a new year of model updates for the always-iconic MINI and MINI Canada wanted to show these off by highlighting what our MINI target loves most about the car: its individuality. .
The goal was to create a buzz-worthy piece that would let our target audience know that MINI absolutely owns customization.
They decided to showcase the idea of personalizing your MINI, by tactically placing an interactive experience right where our target audience would be found, in an arresting way that only MINI could do.
They created the MINI Vending Machine, the largest ever interactive night projection in Canada, which showcased different combinations of the latest 2011 MINIs. Placed strategically in the club district where our key target audience is found, passersby could interact with it by texting to choose the MINI they wanted. This triggered their MINI to drive to the bottom in 1 of 9 fun, cheeky animations. A personalized-response SMS message was then dispatched to them, that led to MINI’s Facebook page.
Several channels worked together to maximize the campaign: first, our target could both view the eye-catching projection and then interact with it. This was then taken one step further in our ability to gather a data-base of target audience.
Finally, the projection went viral, and gained immense international exposure.
The Vending Machine was hugely successful; not only did it get 134,861 impressions in two weeks, it received large-scale attention on thousands of sites and blogs all over the world, as well as over 20,000 hits on Youtube in its first week.
The MINI Vending Machine didn’t just light up the street for the public to interact with and enjoy – it created a major buzz online.
Advertising Agency: Taxi 2, Canada
Creative Director: Lance Martin
Copywriter: Alanna Nathanson
Art Director: Jeff MacEachern
Animation: Hatch Studios
Interactive: Forth Wall
MINI Countryman – The Getaway Billboard
Insights, Strategy & the Idea
MINI launches the MINI Countryman: The 4th car line of the company, after “Hatch”, “Clubman”, “Cabrio”. The biggest one (4 meters). The first with 4 doors and, most of all, the first with 4WD.
The positioning claim is MINI Countryman. Getaway, “Getaway” means the opportunity to have multiple choices and join your passions.
- Objective. The new MINI Countryman is coming to town and we need to present it to the target.
- Media choice:. we have a big-size outdoor media, in the city centre of Milan.
- The challenge. To find a disruptive way of using the billboards, finding an eye catching creative idea.
The purpose is: to be spectacular, using a fibreglass car on the billboard; to be consistent with the positioning: showing the “Getaway” via active sport field (considering the incoming summer season the new MINI is the perfect car able to follow your passion like sea surfing).
We have the opportunity to use a special three-face billboard.
The idea is to create continuity between the three billboards using a creative execution able to connect them.
Billboard 1. It represent a fake surf apparel brand adv: young surfers pose in front of the camera but three of them seem to be interested on what’s happening around the corner, and one of them, physically, is watching on the main billboard.
Billboard 2. The new MINI Countryman in fibreglass is the protagonist. It has a surf board on the roof and is represented as it is “going away”, out of the billboard. One of the surfers, represented on billboard one, is watching the MINI going away with his surf board.
Billboard 3. An invitation, together with an announcing of the new MINI, consistent with execution: “Welcome on Board”.
Results and Effectiveness
An impactful presence, spectacular and attention getting also during the “installation”, it has created a sort of “event”.
An estimate of 964.000 contacts made in 30 days of exposition.
Great unaided PR activity: the most influent Italian newspapers mentioned the campaign.
Target catch, also through word-of-mouth offline and online (web sites from all over the world posted the images; surfing the net with “MINI Countryman Billboard” the Italian idea is the first between the search results).
Advertising Agency: Bcube, Italy
Executive Creative Director: Francesco Bozza
Creative Director: Alessandro Sabini
Copywriter: Martino Lapini
Art Director: Fabio D’Altilia, Daniele Pancetti
MINI Countryman – Times Square
Amidst the clutter, neon and noise of Times Square we used the launch of the all-new four-wheel drive MINI Countryman to do something simple, quiet and, dare we say, beautiful. The eight panel OOH takeover has two fiberglass Countryman mounted on an idyllic mountain scene with the words: Let it Snow.
Advertising Agency: Butler, Shine, Stern & Partners
Late last spring, Omid Farhang, vice president and creative director at the advertising agency Crispin Porter + Bogusky, started hearing a word around the office: “carrots” . He didn’t think much of it at first. Crispin specializes in lavish, zeitgeisty campaigns for brands such as Burger King and Old Navy. New clients are often assigned code names, to keep them a secret as long as possible. Carrots probably meant a new campaign for Nike or Frito-Lay. Then Farhang heard the brief. “I was like, Wait, carrots is carrots?” he says, laughing.
Bolthouse Farms sells nearly a billion pounds of carrots a year – the carrots Farhang kept hearing about – under a number of different brand names and supermarket labels. Only Grimmway Farms, a few minutes down the road in Bakersfield, California, sells more, just barely. Together, the two companies control more than 80% of the carrot market in the United States. As produce growers go, they are huge businesses — in Bolthouse’s case, between $600 million and $800 million a year in revenue, including premium beverages (carrot juice, of course, as well as açai, fruit smoothies, and vanilla chai) and salad dressings.
The company has been around for nearly a century now, but it boomed in the 1990s, with a breakthrough product. A local grower named Mike Yurosek had become frustrated with all the waste in the carrot business. Supermarkets expected carrots to be a particular size, shape, and color. Anything else had to be sold for juice or processing or animal feed, or just thrown away. Yurosek wondered what would happen if he peeled the skin off the gnarly carrots, cut them into pieces, and sold them in bags. He made up a few test batches to show his buyers. One batch, cut into 1-inch bites and peeled round, he called “bunny balls.” Another batch, peeled and cut 2 inches long, looked like little baby carrots.
Bunny balls never made it. But baby carrots were a hit. They transformed the whole industry. Soon, the big growers in Bakersfield were planting fields with baby carrots in mind, sowing three times more seeds per acre, so the carrots, packed densely together, would grow long and skinny, for the maximum number of 2-inch cuts. Yields and profits climbed. The really big deal, the thing nobody expected, was that baby carrots seemed to make Americans eat more carrots. In the decade after they were introduced, carrot consumption in the United States doubled.
Then a couple of years ago, after a decade of steady growth, Bolthouse’s carrot sales went flat. Sales of baby carrots, the company’s cash carrot, actually fell, sharply, and stayed down. Nobody knew why. This was a big problem.
For Jeff Dunn, Coca-Cola was the family business. Dunn’s father spent most of his career at the company negotiating huge sponsorship deals around events like the Super Bowl and the Olympics. Just a few years out of college, Dunn followed him. Dunn eventually took over his father’s job and became one of the company’s top executives, overseeing all of Coca-Cola’s businesses in North and South America. Like his father, Dunn considered himself a marketing guy, which made sense for a top executive at a soft-drink company. “We were selling sugar water and fairy dust,” Dunn says. “And don’t forget the fairy dust.”
Three years ago, he became CEO of Bolthouse. His office is across the street from an agricultural machine yard filled with tractors, seeding trucks, and 65,000-pound harvesters. It has been something of a change. Then again, there are similarities. “Carrots are basically a duopoly,” he says. “It’s Coke and Pepsi.” And when he looked at his flagging sales, he wondered if some fairy dust might help. Dunn put together a series of focus groups and surveys and discovered something interesting. People said they were eating as many carrots as they always had. But the numbers clearly showed they were buying fewer. What people meant, it turned out, was they were as likely as ever to keep carrots in the fridge. When the recession hit, though, they became more likely to buy regular carrots, instead of baby carrots, to save money. But people used to eating baby carrots weren’t taking the time to wash and cut the regular ones. And unlike baby carrots, which dry out pretty quickly once a bag is opened, regular carrots keep a long time. So people were buying regular carrots and then not eating them, and not buying more until the carrots they had were finally gone or spoiled. Bolthouse had never marketed its baby carrots. It just sent truckloads to supermarkets, where they got piled up in the produce aisle. Dunn assembled a small team and studied advertising campaigns for other agricultural commodities, such as almonds, avocados, eggs, and milk. They were shocked at what they found. “Every campaign paid back,” Dunn says. “Every single one. Between 2 and 10 times.”
So they drafted a brief to circulate to ad agencies. “Carrots have an appealing personality. Fun, fun-loving, friendly. High-energy. Visually appealing,” they explained. “Baby carrots are the best form factor of carrots.” Dunn was clear: He didn’t want a health campaign, one that talked about beta carotene or cutting calories. He wanted something more emotional, maybe something funny, something that appealed to impulse rather than responsibility – the kind of thing a soft-drink or snack-food company might do.
Dunn’s team talked to more than 20 agencies. One firm pitched a commercial with a vegetable army, baby carrots in the lead, storming a beach defended by junk food. Another proposed pairing two unlikely celebrities together, or maybe rival politicians, with the punch line “Look who’s having a baby!” Dunn kept a memento from the proposal he liked best, a large model of a carrot ripping through a jelly doughnut, red jelly oozing from the exit wound. Nothing, though, seemed quite right. Even the outrageous ideas tended to come back to avoiding junk food and eating healthier.
Then something unusual happened. One of the agencies recommended a rival firm, Crispin Porter + Bogusky. They thought the sensibility Dunn was fishing for sounded like Crispin’s work. Dunn figured there was no way Bolthouse had the profile or the resources to hire a firm like Crispin. But he called them anyway. “You guys are kind of late to the game,” he said, “but do you want to take a crack at this?”
A mounth later, Dunn flew to Boulder, Colorado. Crispin had decorated its modern, glass conference room like a barn, with bales of hay stacked all around and a wooden bolthouse farms sign over the door. Farhang, the creative director, wasn’t sure about the barn. It’s possible these guys may find this offensive, he thought. They aren’t a bunch of bumpkins. The presentation began with some ethnography. Crispin had done its own behavioral research, lurking in kitchens around the Boulder area. Staffers had watched suburban moms unpack their groceries and studied where kids looked for snacks when they got home from school. Kids seldom went to the refrigerator; instead, they went straight for the cupboards or the pantry. If they did go to the fridge, baby carrots were at least visible, out on a shelf. Full-size carrots, though, always went in the vegetable drawer. “The drawer of death,” one kid called it. Adults weren’t particularly fond of the vegetable drawer either. They tended to associate it with all the vegetables they buy and forget, and then discover weeks later, limp and leaking. A strategy began to emerge. Let regular carrots be the vegetable.
“Everyone else pitched baby carrots as an antidote to junk food,” Dunn says. “Where Crispin came out was almost the exact opposite. We want to be junk food.”
Farhang and his colleagues unveiled storyboards with concepts for a series of winking, self-aware junk-food ads. One ad featured a baby-carrot-branded spray tan, endorsed by Snooki, the star of MTV’s Jersey Shore. In another, a sultry model, surrounded by billowing black silk, runs a carrot slowly across her lips as a voice-over purrs about indulgence – think Dove chocolates. The best one seemed inspired by a Mountain Dew commercial. A skater dude rides a jet-powered shopping cart through a desert pass, dodging baby-carrot gunfire. Things blow up. There’s a pterodactyl. “Extreme pterodactyl!” the voice-over yells.
“To have a great advertising idea, you have to get at the truth of the product,” Farhang explains. “The truth about baby carrots is they possess many of the defining characteristics of our favorite junk food. They’re neon orange, they’re crunchy, they’re dippable, they’re kind of addictive.”
Bolthouse didn’t have much to gain from a house-branded campaign since it sells under many labels, and a generic campaign like “Got Milk?” might convince its rival, Grimmway, to share the cost, so Crispin made baby carrots the star. “It’s not about making baby carrots cool,” Crispin CEO Andrew Keller stresses. “It’s about getting baby carrots into a different category.”
Crispin imagined individual snack packs made of opaque, crinkly plastic, like a potato-chip bag, with bold, junk-food-style graphics (the new packaging would cost about 25% more than traditional veggie bags, but Dunn could justify it as a marketing expense). “People are now grabbing a bag of these, you know, eating them in the car,” Dunn’s marketing chief, Bryan Reese, says. They’d look right at home by a convenience-store checkout.
Farhang and his colleagues showed ideas for a baby-carrot vending machine, too, and a chilled carrot jar, like a cookie jar, that might stay out on the counter. Bolthouse’s traditional packaging worked only for the produce aisle and the kitchen fridge, and it asked more of people. “You know, unzip the 2-pound bag of baby carrots …” Reese says, in a weary voice. “Grab a few baby carrots … rezip it …” We might remember this as an unfortunate cultural milestone, the moment when eating baby carrots became too much work, but Bolthouse wanted people eating more vegetables, and it was looking for whatever would sell.
Just to be safe, Crispin presented a few ideas that brought up healthfulness. But Dunn didn’t seem to care. Farhang thought that was smart. “What a silly use of advertising dollars to tell people that vegetables are healthy,” he says.
A few weeks later, Farhang was in the California desert, with a film crew. “There’s a guy in a shopping cart with a rocket strapped to it, and there’s pyrotechnics lining the base of a cliff, and there’s a really hot model standing next to a machine gun,” he recalls, and laughs. “It’s hard not to be nervous. We’ve got this client that has a genuine desire to change its business, to change the way that people look at carrots forever.” And it was planning to spend a huge sum of money for a produce company, in the neighborhood of $25 million. “This isn’t Coca-Cola,” he says. “We have one shot to get this right.”
At Coca-Cola, Dunn was obsessed with per capita consumption. “Per capita was my mantra,” he says. But as he neared the end of his time there, he began to feel conflicted. It was still his job to sell more Coke. But people were drinking a lot of Coke. He talked to his father about it. “If you’ve got a per capita of three, four, five” — 500 Cokes a year — “that’s fine. But there are places in the United States where you have per capitas of 1,000. I can’t get my head around somebody drinking 1,000 Cokes a year,” Dunn says. “This was before obesity had become as prevalent. But it was pretty clear that’s where the world was going. And certainly sugar soft drinks had a direct role in that.”
Dunn talks as if he carries some karmic debt, still. But his experience comes with a unique perspective. “If all we do is tell people fruits and vegetables need to be part of their diet or they’re not going to be healthy — the rational approach — we have zero chance,” he says. “The last 10 years has proven it. There’s been so much written and so much government stuff. And per capita consumption isn’t up. I believe there’s a different approach.
“People will say, ‘You open the bag, it’s just baby carrots.’ Well, it’s just Lay’s potato chips, it’s just Doritos, there’s nothing special about them,” he says. “They’re just cool and part of your life. If Doritos can sell cheeseburger-flavored Doritos, we can sell baby carrots.”
Crispin’s campaign, “Eat ‘Em Like Junk Food,” debuted last September in two test markets: Syracuse, New York, and Cincinnati. (There are plans to expand the campaign to other markets by this fall.) Three television spots aired, as well as a web series, Munchies, starring two slacker grocery clerks. ” Display ads, printed up for supermarkets, presented baby carrots as “the original orange doodle,” and billboards suggested never fear carrots and beer. Maybe most provocatively, Bolthouse installed baby-carrot vending machines, wrapped in eat ‘em like junk food graphics, at a pair of high schools.
By November, sales in Bolthouse’s test markets were up 10% to 12% over the year before, compared to minimal improvement or slight decline in a control group. The vending machines were selling 80 to 90 snack packs per week; a number of schools have approached the company about installing their own machines, and Bolthouse is investigating what it would take to scale vending into a real business. In April, it will test its first movie tie-in, with snack packs promoting a new animated comedy, Hop.
Despite running for just one month in two test markets to date, the $450,000 “Eat ‘em like junk food” campaign has garnered nearly 63 million PR impressions across the world, valued at over $15 million. It’s been covered by networks and publications including NBC, Fox News, CNN, Huffington Post, Associated Press, USA Today, Washington Post and New York Times. Xtreme Xrunch Kart has also been downloaded and played in more than 75 different countries worldwide. And since the point was to sell carrots, baby carrot sales lifted by 12 percent in our test markets.
Widespread media attention to the baby carrot re-branding campaign, contributed to an 11.3% median rise in baby carrot sales in the test markets carrying the junk food packaging. Increased sales, in combination with strong consumer interest and demand, resulted in many of the major grocery store chains agreeing to carry the new packaging national in October 2010, including Kroger, Wegmans and Walmart. National media attention also enabled Bolthouse Farms to negotiate for larger display areas and better store positioning for baby carrots.
The public relations campaign positioned Bolthouse Farms as an innovator in the agriculture and health food marketing industry, thus elevating the company’s corporate profile overall. The notoriety of the campaign also directly resulted in meetings for the Bolthouse executive team with numerous influential celebrities that may result in future business opportunities and/or partnerships for the company, including: Jessica Seinfeld, Jamie Oliver and Lauren Bush. The crowning achievement of our media efforts was secured in late spring 2011: a five page feature in the April issue of Fast Company, cementing the campaign’s status as an innovative and remarkably successful case study in disruptive communications and marketing.
When you think “exciting snack,” baby carrots don’t come to mind. Like most veggies, they tend to sit forgotten in refrigerator crispers across America. Of course, junk food doesn’t have this problem. So what will it take for baby carrots to get out of the bottom drawer and become a sexy, top-of-mind snack alongside the likes of Cheetos and Doritos? Maybe the only thing missing is the junk food marketing. ‘A Bunch of Carrot Farmers’ exploit infamous junk food marketing tactics – while poking some fun at them – to garner international press and stake their rightful claim as the ultimate snack-your-face-off crunchy munchy. Introducing the first-ever Baby Carrots branding campaign: ‘Eat Em Like Junk Food.’
Advertising Agency: Crispin Porter + Bogusky, USA
Chief Creative Officer: Rob Reilly
Group Creative Director: Tiffany Rolfe
Creative Director: Omid Farhang
Art Director: Liz Levy
Copywriter: Omid Farhang, Marc d’Avignon
Graphic Designer: Greta Ackerman, Aryanti Ingenille
Bronze Lion, NYF and Clio
The Coca-Cola Friendship Machine was born to make all the friends of Latin America celebrate Friend’s Day in a very special way.
For everyone to enjoy a Coke with their friends and take advantage of the special 2 for 1 Coke offer, friends had to cooperate with each other to insert the money into the machine slot.
Describe the creative solution to the brief/objective. To enjoy and share the 2 for 1 Coke offer, this 3.5 meter tall vending machine required the direct interaction of the friends with the huge structure.
Thousands of friends in 7 countries of Latin America interacted directly with Coke’s special vending machine to celebrate Friend’s Day. 800 Cokes were sold in 9 hours. That’s 1075% more sales than with a regular vending machine. Thousands of comments on blogs and social networks around the world. With friendship as the must to make it possible.
Advertising Agency: Ogilvy, Buenos Aires
Executive Creative Director: Gaston Bigio
Head of Art: Jonathan Gurvit
Creative Director: Javier Mentasti
Creative Director: Ignacio Ferioli
Copywriter: Nicolas Vara
Art Director: Ignacio Flotta