The 10 Best Commercials to watch on Halloween

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
Year: 2007
Bronze Lion

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
Year: 2005
Bronze Lion

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
Year: 2001

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
Year: 2004
Bronze Lion

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
Year: 2007
Silver Lion

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
Year: 2007

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
Year: 2005

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
Year: 2006

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
Year: 2008


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
Year: 2006

Halloween in advertising

Pizza Hut – Halloween Menu

Objective: to create fun and excitement for the annual festival in the proximity of the restaurant, at the same time drawing in customers with the special menu items.
Idea: while Halloween is a relatively small festive event in the Hong Kong market, there is a younger segment of Pizza Hut customers who are aware of the event, and are also Pizza Hut customers. In order to attract this crowd, a special menu has been developed for the promotion, including mostly items made with the one ingredient most consumers love about Pizza Hut’s pizzas – cheese! As the most important key to success for appealing to a younger crowd, the key to success lies in the ability to entice and draw in customers with interesting news through a display that they find relevant. With “cheese pull” having been established as an iconic visual device that Pizza Hut owns in the market, and cheese being a core ingredient in the menu items, the ghoulish face formed with the holes naturally represents the cheese as it stretches.
Results: while exact sales figures cannot be given out due for confidentiality reasons, a surge in customers during the period of the promotion, sizeable number of orders for the items in the festive menu, and long queues outside the restaurant are strong anecdotal evidence of the success of the promotion. Clients have also received favourable comments from their management team as well as their acquaintances.

Burger King

White Night Condoms

Fisherman’s Friend

McDonald’s – Happy Halloween

Guinness – Happy Halloween

Leo Burnett Chicago for McDonald’s


NMRA Insurance


Mitsubishi Motors

Volkswagen Beetle – Trick or treat?

STP (Motor-Oil Company) – Happy Halloween


Lynx Deodorant

In&Out Gay Bar – Halloween Party

Riverside Properties – Don’t drink and drive this Halloween

ETV Channel – Halloween Movie Festival

Theatric Plus (Halloween supply store)

This piece was wildly successful. It increased traffic to both the store and website, while the store celebrated their most successful Halloween ever. There were queues outside the store throughout the week of Halloween. Many of the customers that did visit the store praised the witches’ hats idea to store owners. Furthermore, the store owners were more than thrilled about this idea and hope to use it again next year.
Halloween is a very significant event in Canada. Everyone dresses up in costume – both adults and children. Some people leave their costume buying until the last minute. This particular Halloween supply store was small and easy to miss. So how do we drive traffic from the street to the store?
What better way to drive traffic to a store than using natural items on sidewalks as interruptions to passers-by? With construction always happening near this store, the idea was to dress up everyday caution pylons as witches’ hats and place them nearby. Pylons naturally had the right shape and the added black circular base completed the look. What better use of media than using an everyday pylon that resembled the most popular Halloween icon? You can’t miss a giant witch’s hat on the sidewalk! The sticker with store info helped successfully drive customers to the store and website.

Zen Department Store – Halloween Sales

The Brief: To draw customers from our competitor department stores. During this sale season, we have to get the highest brand awareness for our store.
The Solution: We designed a Halloween shopping bag that moves by itself, and placed it in busy areas, including our competitors’ store area.
The results: Customers had high brand recall, which helped generate high in-store traffic and boosted sales.

Gillette Fusion Proglide

The Brief
While Gillette was still the leader in the grooming segment, we were challenged by the client to keep the brand fresh and culturally relevant. The challenge was to create a buzz for Gillette at New York’s highly visible Halloween parade, which boasts of over two-million-strong participation.
The Idea
Gillette’s message of “fewer nicks and cuts with the ProGlide razor” was a perfect message for this Halloween event, which is often defined by costumes of blood, nicks and cuts. We created posters and activation using people with “razor cuts” costumes with the message “Don’t let every day be Halloween” printed on T-shirts. The Gillette spokesperson in the costume handed out razors whenever he saw person with blood and cuts. The costume of razor cuts was a huge draw and drew tremendous appreciation for the ingenuity of the message.
A significant percentage of people in the Halloween parade are young males who are potential customers of Gillette. The event was a perfect setting to connect with them in a fun and relevant way without the product message sounding like a promotion. The message of “Don’t let every day be Halloween” seamlessly blended into the vibe of the parade, giving Gillette tremendous credibility. The promotion attracted a large number of young people who responded by taking pictures of the unique “razor cuts” costume and shared them online through Facebook and Twitter. The local media captured the promotion giving it a huge viewership. Hundreds of razor samples were given out which led to the supplies running out. The Gillette “razor cuts” man turned an everyday common razor cut into a message of relevance for Halloween. The “nicks and cuts” strategy became a foundation for an anti-disposable razor message that is being pursued in a national campaign for Gillette.

Child Abuse Action Group

The Brief
Even though their name suggests action, The Child Abuse Action Group (CAAG) is all about prevention. Our brief from the CAAG was exactly that – to create a campaign to encourage parents to start a conversation with their children about the realities of child abuse and to arm them with the required knowledge to identify possible abusers and to avoid dangerous situations.
The Idea
We had to get parents to educate their children about the monsters that exist in our society. To do this we decided to target parents at a time when monsters are most relevant. Parents would find it perfectly normal to receive a free monster mask whilst out shopping for Halloween outfits and during neigbourhood trick or treating and that’s exactly what our volunteers did. Of course there was a twist. The mask inside the pack didn’t resemble that of a zombie, but instead looked like a very ordinary looking person. The message: The scariest monsters don’t look like monsters. As with most NGO’s, funds are always an issue, the budgets for awareness campaigns are tight and any communication needs to work extremely hard and must absolutely cut through the clutter. We knew we had to ignite a conversation between the parent and the child instantly. Targeting parents at a time when they would be with their kids i.e whilst trick or treating or shopping for Halloween decorations was the perfect opportunity. Speaking to parents about child abuse at a time when their children would be knocking on strangers’ doors made the message even more relevant and impactful.
The masks were very well received. Parents and their children interacted with the masks and talked about them. The client noted a definite increase in calls to the call centre, and traffic to the website doubled in the period following the campaign.

Guinness Halloween Ghosters

The Brief
Because there’s no tradition in stout beer, Romania is mostly a lager market. As a consequence, Guinness is a niche brand. Although Guinness has brand awareness, people are not drinking it because of the special taste and the higher price. The client wanted something to drive sales in the most important pubs in Bucharest for the Halloween night. And the challenge was to do something special and impactful with a very low budget.
The Creative Execution
Guinness is associated in Romania with the Western culture, so its association with Halloween was a perfect match. As a plus, the black color made it look perfect as a creature of the Halloween night. All we had to do was to transform the coasters into scary shadows. The idea was simple and cost effective: to produce special Halloween beer coasters for Guinness. The coasters appeared to be scary shadows of the Guinness glasses and were offered for every Guinness beer that was bought.
The idea had an ‘I want one of those’ effect. People were curious to know what was all about with the Guinness coasters, then they found the idea nice and they wanted their own coasters. Actually some of them liked it so much, that they wanted to complete their ‘collection’. The client reported an increase in sales in different locations between 16 and 20% for that night and – as a side effect – everybody took home their scary – shadows coasters 5+

Nexcare 3M Badages

The objective of this effort was to build awareness of the size variety of Nexcare bandages. We made super sized stickers that looked like bandages and stuck them on various posters found in public places in the Halloween Season. Our target was: adults 25+


The Brief: We had to find a budget friendly and creative way to reach our objectives, taking into account the following restrictions: Weleda is a small brand, only sold is some local shops, which has no huge advertising budgets. Advertising to children is legally very restricted in Belgium primarily under parental pressure. To maximize the effect and minimize parental resistance: we chose to reach both mother and child at the same time. On the moment of truth i.e. the day on which people go shopping massively for candies i.e. Halloween day.

The Soluton: plenty of people were on the streets, carrying the message with them and talking about it. In fact it had a kind of snowball effect; children and mothers were sharing their amazement with each other. What more can a brand dream of than the mere fact that people actually talk about and show sympathy for their advert.

The Results: local spontaneous brand awareness rose by 28% after one week. The event created huge sympathy as new people came to ask for a sample and for explanation about the brand. Another nice effect was the increase of total local traffic in the Weleda shops in the weeks after the event.

Society of Spiritualists

Ben Egnal (Art Director)

Trendy (Snack and Confectionery)


San Francisco Zoo (Halloween Party)

Norte Beer (This Halloween don’t drink and drive)


Iglo Soup

Movistar – Halloween Promoton

Comic Club Shop

BMW 1 Series – The Ramp

The Ramp is an integrated online campaign that generated sales leads and buzz for the BMW 1 Series Launch in America. The centerpiece is a 35-minute online documentary about the tiny Bavarian village of Oberpfaffelbachen that built a gigantic Ramp to literally launch a 1 Series from Bavaria to America. Our audience could then interact with the town/characters through the campaign’s microsites and social networks. We developed an Oberpfaffelbachen email tourism campaign, even a CafePress store so fans could buy Ramp merchandise. The campaign generated so many sales leads the 1 Series nearly sold out BEFORE the official launch date.

Short Film

For centuries, the tiny village of Oberpfaffelbachen, Bavaria, has been known for its agriculture and baked goods. Unfortunately, cows and cookies don’t attract the tourist dollars. But upon learning of BMW’s big plan to launch the European 1 Series for the first time in America, the town hatched an idea that would change its destiny forever. The idea was simple: build a gigantic Ramp to launch the new BMW 1 Series from Bavaria to America. Literally. This momentous event would be held during Rampenfest, a festival so big and amazing that it would attract press from around the globe, foreign dignitaries and millions of tourists with wallets full of money. Oberpfaffelbachen would soon be mentioned along side Paris, London and Disney World as a premier tourist destination. In the fall of 2007, a young American documentary filmmaker, Jeff Schultz, traveled to Oberpfaffelbachen and filmed the townspeople, the Ramp and the bizarre events that would unfold during Rampenfest.

Well, at least that’s what we told everyone. In reality, to build buzz for the BMW 1 Series launch in America and appeal to its new, younger demographic, we filmed a fictitious 35-minute documentary — and then from the perspective of our imaginary filmmaker Jeff Schultz — released it exclusively online at Shot on location in Bavaria, we created the village of Oberpfaffelbachen. Using actors and real locals, we assembled an extensive cast of oddball characters – the overconfident Events Manager named Franz Brendl, the town’s naïve mayor Loisl Eder, the local construction owner Hans Unterholzner and his dimwitted stunt driver son Sepp and finally, Evi Gruber, a down on her luck single mother who invested her life savings in Ramp souvenirs. And over the course of five days, we filmed the story of a ridiculous idea and the gullible town that sunk every dime they owned to make it a reality.

The Project
“The Ramp” is an integrated campaign that generated sales leads and buzz for the BMW 1 Series launch in America. The centerpiece is a 35-minute online documentary about the tiny Bavarian village of Oberpfaffelbachen that built a gigantic Ramp to literally launch a 1 Series from Bavaria to America. Our audience could then interact with the town/characters via microsites and social networks. We developed an Oberpfaffelbachen tourism commercial, a CaféPress store so fans could buy Ramp merchandise, hosted a movie premiere, even held a “Miss Ramp” beauty pageant to further engage fans over the course of the campaign.

Using popular social networks like Facebook, Uber and Flickr, we created an online presence for our fictitious filmmaker Jeff Schultz. He built a large network of friends by informing them of a documentary he filmed. We leaked teaser clips on YouTube directing viewers to his WordPress blog where they’d discover more information. Eventually, we released a movie trailer followed by the 35-minute documentary at Our audience then uncovered microsites and social networks for the town/characters, allowing them to do anything from buying Ramp merchandise at CaféPress to finding a recipe for a famous Rampenfest pretzel at
At the time of this posting, the campaign’s centerpiece — the 35-minute online documentary — was scheduled for release on April 1, 2008. And because the campaign is still ongoing, final results are not yet available. However, in the weeks prior to the release, anticipation and buzz for the documentary and the BMW 1 Series were incredibly strong.
Result:oOver 35 major blogs (with views exceeding one million) hyped the campaign. Over 1,000 fans have joined the campaign’s social networks. The campaign has attracted enough sales leads that the 1 Series nearly sold out BEFORE the official launch date

Advertising Agency: GSD&M Idea City
Creative Director: Allen Hannawell, Matt Davis
Copywriter: Ryan Carrol
Art Director: Scott Brewer
Production Company: Paranoid/Big Fish Filmproduktion
Director: Jeff Schultz/The Vikings
Year: 2008

Opel Movano – The first van that carries your stuff across the web

To raise awareness of the Opel Movano, agency  came up with a digital campaign to demonstrate that the Movano is a utility vehicle designed for moving goods around. It created a banner ad that doubles as a file transfer service: users simply type in their name, upload up to 2 GigaBytes of file in the rear of the van and send it to someone accross the web. The recipient gets an email to download the file and also learn more about the Opel Movano. So far, the virtual van has completed more than 5,000 ‘deliveries’ in its first month.

Advertising Agency: McCann Lowe, Belgium
Creative Director: Benoit Hilson, Olivier Roland
Copywriter: Jeremie Goldwasser
Art Director: Arnaud Piette
Web Designer: Greg Pin
Year: 2011

Meister Camera (Leica Stores) – Pixellated Dog

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.

Creative execution
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
Year: 2008

Ogilvy & Mother Mumbai for Mentos Sour Marbels (2009/2011) – Umbearably creative

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.

Cave-Man (2009)

Diver (2009)

Tourist (2009)

The Brief
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%.

Guillotine (2011)

Snake (2011)

Gun (2011)

The Brief
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.
The challenges
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

Coca-Cola Light’s 25th Anniversary – 15,000 Bottles Make A Billboard

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
Year: 2011

Kellogg’s Crunchy Nut – The World’s Largest Cuckoo Clock

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.

Creative Execution
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
Year: 2011

TBWA/Paris for MAPA Protective Gloves (2006/2008) – Because hands are creative

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

Creative Director: Erik Vevroegen
Copywriter:  Xavier Smith
Art Director: Jonathan Santana
Photographer: Swen Glage

Scottex – Mailing on kitchen paper towel

The Brief
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
Year: 2008
Silver Lion