1 – Volkswagen – HORROR MOVIE
The quality and reliability of a Volkswagen are known to be extremely high. Accordingly, you will never see a Volkswagen that won’t start in a dangerous horror movie scene.
Advertising Agency: DDB Germany
Creative Director: Amir Kassaei, Stefan Schulte, Bert Peluecke
Copywriter: Sebastian Kainz
Art Director: Marc Wientzec
2 – Nike Footwear – SCARY HOUSE
A little girl finally musters up the nerve to ring the doorbell of the scary house at the end of the street. When frightened she runs away by getting in the mindset of the fastest woman in the world: Marion Jones. It’s a race against fear through the backstreets of Savannah.
Advertising Agency: Weiden + Kennedy, Portland
Creative Director: Bill Grylewicz, Andrew Loewenguth
Copywriter: Mike Byrne, Hal Curtis
Art Director: Bill Karow
3 – Nike Sportwear – HORROR
A spoof of the horror film classic “Friday The 13th” but with a twist ending. We see the villain hunched over gasping for breath as Olympic athlete Suzy Hamilton escapes in the distance.
Advertising Agency: Weiden + Kennedy, Portland
Creative Director: Jim Riswold
Copywriter: Ian Reichenthal
Art Director: Scott Vitrone
4 – SWR Television Station – LULLABY
Serial murderers, monsters and horror characters from well-known splatter, horror and violent films sing Brahms’ lullaby (Lullaby and Good Night). The film ends with the question: how much violence do your kids see before they go to sleep? SWR Television. Against violence on TV.
Advertising Agency: Ogilvy & Mother Frankfurt
Creative Director: Peter Rommelt, Simon Oppmann
Copywriter: Peter Rommelt
Art Director: Simon Oppmann
5 – Smart FourTwo – BACK SEAT
Sometimes it’s more secure to drive a car with no backseats. Note: All scenes in the commercial were filmed referring to the cinematic look of the originals.
Advertising Agency: BBDO Germany
Creative Director: Matthias Eickmayer, Stephan Meske
Copywriter: Szymon Rose, Florian Barthelmess, Jonathan Skupp
Art Director: Steffen Gentis, Annette Berkenbusch, Mereike Ceranna
6 – 13eme Rue Tv Channel – SCREAM
Scenes of famous horror films with women screaming…
Advertising Agency: Betc Euro RSCG, Paris
Creative Director: Stephane Xiberras
Copywriter: Oliver Couradjut
Art Director: Remy Tricot
7 – K-Fee Caffeine Drink – COMPLETE CASE HISTORY
Ever been so wide awake? Then another: K-fee. Canned caffeine with
Advertising Agency: Jung Von Matt, Germany
Creative Director: Costantine Kaloff, Ove Gley
Copywriter: Daniel Frericks, Eskil Puhl
Art Director: Frank Aldorf
Silver Lion for the campaign
8 – Stihl Chainsaw – MASSACRE
The Stihl easy2start chainsaw range feature an effortless , every time starting mechanism.
A wonderful product benefit that gives life to this spoof of the horror genre. Dramatised in a style that looks and feels as much like a cinematic experience as possible, this is an ad that changes shape with a twist.
Advertising Agency: Cummins & Partners, Melbourne
Creative Director: Craig Conway, Sean Cummins
Copywriter: Dave Lunnie, Melissa Turkington
Art Director: Dave Lunnie, Melissa Turkington
9 – Gainomax Recovery Drink – SCARY
By old habits, people eat bananas after working out. But, bananas are for monkeys. Instead, maximize the effect of your exercise and drink Gainomax Recovery: it’s better for you. In this horror movie a monkey threatens us. Don’t take his bananas. If you do, he’ll come after you.
Advertising Agency: Saatchi & Saatchi, Stockholm
Creative Director: Fredrik Preisler, Adam Kery
Copywriter: Amalia Ptsiava, Adam Reuterskiold
Art Director: Gustav Egerstedt
10 – Cingular Mobile Phone Service – HORROR
Filmed in a “horror movie” style, scary teenagers ask their parents for cellphones.
Advertising Agency: BBDO New York
Creative Director: David Lubars, Bill Bruce, Susan Credle
Copywriter: David Locasio
Art Director: Rich Wakefield
To create a novel piece of advertising which demonstrates that you can take much more detailed shots with the Leica D-Lux 3 from Meister Camera than other digital cameras.
We demonstrated how ill-defined objects can look when you don’t use a high-definition camera like the Leica D-Lux 3. To do this, we put 3-D objects in the surroundings. The key was that each of these objects was completely made up of thousands of little wooden pixels. For example, a life-sized, pixellated dog was tied up outside a Meister Camera shop. There was a poster next to it with the headline: See it in more detail.
Photographers and people interested in digital cameras. Pixellated objects are nothing special in print. They only become innovative when seen in a new light: as physical objects in real surroundings. It’s no wonder that the installation turned out to be such an astounding attention-grabber.
Advertising Agency: Philipp Und Keuntje, Hamburg
Creative Directors: Diethern Kerner, Oliver Ramm
Copywriter: Daniel Hoffmann
Art Director: Sonke Schmidt
Mentos Sour Marbels is a sour candy, different to the usual sweet candies sold in India. Ogilvy & Mather Mumbai, in designing its advertising strategy for the brand, decided to capitalise on the sour factor by exaggerating the effect Sour Marbels has on people. 2009, “Really Sour” campaign: in an amusing print advertising campaign featuring the art work of Deelip Khomane. Sour Marbels prove too much for a caveman, diver and tourist, along with their food chains. 2011, three new print ads, “Snake”, “Train” and “Gun”, suggest that Mentos Sour Marbels is so unbearably sour that the only way you can escape it is by resorting to multiple sourcides. The campaign won a Silver Press Lion at Cannes International Festival of Creativity in 2009 and in 2011.
The challenge was to communicate the really sour taste of the candies in an endearing way, so as not to alienate the existing customer base of the mother brand Marbels, which is a sweet candy. The brief was to effectively communicate the sole differentiating point of Sour Marbels vis-a-vis other candy brands, its really sour taste.
The final design
Because we were talking about a candy which was really sour, even the idea and its execution needed to be equally sour as well as different. After arriving at the idea of creatures spitting out each other in a chain due to the sourness, we decided that illustrating the idea was the only way of doing justice to it.
Immediately after the campaign broke, the brand was talked about a lot. Its different idea and an equally different execution got people asking for it. Sour Marbels changed the equation of confectionary = sweet. In 3 months sales jumped 18%.
Mentos Sour Marbels is a unique product in the Indian market. It is a sour candy. The brief was to sell the idea of sour candies in an interesting way.
While candies are generally associated with sweetness, Marbels broke the mould with its sour taste. The challenge was to get the sweet craving Indian market interested in sour candies.
The final design
Instead of competing with normal sweets, we decided to capitalise on the sour factor by exaggerating the effect Sour Marbels has on people. Our ads suggest that Mentos Sour Marbels is so unbearably sour that the only way you can escape it is by resorting to multiple suicides. Or, should we say ‘sourcides’?
The campaign garnered a lot of attention, especially among the young – a demographic that Mentos, Sour Marbels aims to impress.
Executive Creative Director: Abhijit Avasthy, Rajiv Rao
Creative Director: Anurag Aghihotri
Copywriter: Saurabh Kulkarni, Nasdrullah Asami
Art Director: Ashish Naik
Illustrator: Deelip Khomane
Silver Lion for the campaign in 2009 and 2011
Diet Coke, which is also known as Coca-Cola Light in many countries, celebrated 25 years in Spain with a splash. In celebration of this milestone, a billboard made of 15,000 limited edition bottles of Coca-Cola light was unveiled at the Oscar Room Mate Hotel in Madrid.
The objective of the promotion.
2010 is Coca-Cola Light’s 25th Anniversary. A strong communications campaign was designed that mentions 8 million consumers, proud fans of Coke light. This relaunching involves an ambitious plan, announcing the celebration through an important on and offline promotion focussed on:
(1) Paying tribute to the consumers (2) Commemorating the brand’s 25th anniversary. The unique promotion was made tangible by a special action carried out on a strategic building in the heart of Madrid, a container for the brand’s territories.
From concept to implementation
–To increase the connection with the brand proud of being Light.
– To reach out to the 8 million consumers to make the brand’s anniversary tangible in the street with a special edition of aluminium bottles, which will carry the incentives.
–To motivate consumers with prizes linked to the brand’s territories (leisure, fashion)cost efficiency.
–Strategic partners connection between brands with similar values (RoomMate alliance with Coca-Cola Light).
The solution involved creating a unique promotion made tangible by a special action on a strategic building in the heart of Madrid, a container for the brand’s territories.
Media impact from launching, the exterior banner caused a commotion because of its uniqueness and because it was the first exterior banner in the world made of aluminium bottles. New experiences with users, we took the campaign to the street. Just as Light designers designed their I Light it bottle to commemorate the brand’s 25th anniversary, more than 15,000 unique bottles were designed by consumers, with prizes included. We paid tribute to consumers by delivering 100% of the prizes. Return on investment is quite high thanks to the negotiations carried out with the campaigns strategic partner. The Coca-Cola Light brand appears more than 30,000 times on the 15,000 bottles that make up the banner and closes with CCL I Light it. The banner is placed on the façade of the Oscar Hotel, very much in line with the target public, the hotel is located in the heart of Madrid in Plaza Vázquez de Mella (between Chueca and Gran Vía) and the building was dressed in Light for one month. The RoomMate hotel chain, directed by Kike Sarasola, spearheaded the campaign.
Advertising Agency: Momentum Worldwide, Spain
Creative Director: Raul Perez Serena
Copywriter: Dubra Castineiras
Art Director: Esperenza Merenciano
Insights, Strategy & the Idea
The assignment was to launch Kellogg’s first new cereal in a decade into one of the most crowded categories in the supermarket. We needed to stand apart from the standard health claims of adult-targeted cereals, so targeted not a demographic, but a personality: “taste enthusiasts”– people who don’t wait to enjoy food. We wanted them to see Crunchy Nut as a brand created for them. We told them they don’t have to wait until breakfast to eat Crunchy Nut, because wherever you are, It’s Morning Somewhere. The target took “It’s Morning Somewhere” as an anthemic call, reframing Crunchy Nut from a breakfast to an anytime food.
We brought “It’s Morning Somewhere” to life by building the World’s Largest Cuckoo Clock, in the middle of Hollywood Boulevard. For 24 straight hours, one comedian emerged from the clock every hour as a character from a place in the world where it was currently morning, announcing, ‘It’s 3pm here, but it’s morning in China’.
Representatives from the Guinness Book of World Records and a celebrity entertainer kicked off the event and promoted the Cuckoo Clock on the news. Sampling and photo booths let people take pictures of themselves in funny mornings around the globe, and post them online. The event streamed live on Facebook. Consumers across the country discovered and interacted with the brand, suggesting performance ideas which our comedian actually responded to from the clock.
The Crunchy Nut Cuckoo Clock was a tremendous success. It trended on Twitter. The live streams had 154,000 views with an average viewing time of 6 minutes. The event garnered 176 million earned media impressions. Crunchy Nut’s Facebook fans increased 2,500% during the weekend of the event. The event launched Crunchy Nut, a new brand, to a 0.9% market share of the entire US cereal market in just its first month on the shelves.
Advertising Agency: Leo Burnett, Chicago
Chief Creative Director: Susan Credle
Creative Director: Reed Collins, Bob Winter
Copywriter: Derek Sherman, David Schermer
Art Director: Ryan Dillon, Stephanie Simpson
MAPA Campaign 2006 – The Stallion/The Bill, please/The Issue/A Bad Hair Day
Creative Director: Erik Vevroegen
Copywriter: Xavier Smith
Art Director: Bjoern Ruhemann, Joakim Reveman
Photographer: Hans Stark
Gold Lion for the campaign
MAPA Campaign 2007 – Birdy Num Num/Just a Little Prick/Doctor Doctor
Creative Director: Erik Vevroegen
Copywriter: Xavier Smith
Art Director: Bjoern Ruhemann, Joakim Reveman, Jonathan Santana
Photographer: Swen Glage
MAPA 2008 – Sex Education
Communicate the strength of Scottex kitchen paper towels to restaurant owners.
We created a mailing made from real Scottex kitchen paper towels. These mailings were posted ‘as is’, without an envelope, and sent to restaurants all over Belgium. After a successful series within Belgium (see result) we decided to take things a step further… literally. So we used our agency in New York and a befriended agency in Tokyo. The agencies then sent out a new series of mailings to Belgian restaurants.
A big hand for the Belgian and world’s postal services! All the mailings we first sent out to test the concept in Belgium arrived without any damage. Same went for almost all the mailings we sent in the second round (from NY, Tokyo and Ushuaia). We called all the restaurants to check if and how the mailing was received. 98% of all the mailings reached the restaurants in a perfect state and was considered super original and convincing. Even the series posted from Ushuaia, the world’s most southern city, made it all the way to Belgium.
Advertising Agency: Duval Guillaume Antwerp
Creative Director: Geoffrey Hantson, Dirk Domen
Creatives: Carsten Van Berkel, Stefan Leendertsen