The First Creative Moodboard.jpeg That Wishes You Happy Holidays

The Brief
Summer is coming. Everybody is leaving and the regular activity on the website will be stopped. Sun is burning to high to use an Ipad on the beach… So we need to inform the blog will be pause for few weeks.

Idea
We started from a very simple insight: when it’s summer everybody whises an happy summer to all of his friends. So let’s have a nice holiday to everybody.

Solution
Create a “.jpeg whises moodboard” and post it on the bog.

Results
700 people receive the summer wishes, the operation was a great success. A big buz started from the blog and spread all around the social media. The blog views increased by the 35% that day.
Only in September we will have the final results on the effectivness of the entire operation…

 

Advertising Agency: This is not ADVERTISING


British Airways – Plane Detecting Billboards

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British Airways has unveiled digital billboards which will ‘interact’ with aircrafts flying overhead, as the brand looks to remind customers how magical flying can be, from the perspective of children. Developed by Ogilvy 12th Floor, the ads use custom built surveillance technology which tracks the aircraft and interrupts the digital display just as it passes over the site, revealing the image of a child pointing at the plane overhead accompanied by its flight number and destination it’s arriving from. This will be accompanied by a relevant message to the flight, such as ‘Fly the new A380 to Los Angeles. ba.com/lookup’, or details such as the lowest fare available or the temperature at the destination.

Abigail Comber, British Airways’ head of marketing, said: “This is a first, not just for British Airways but for UK advertising. We all know from conversations with friends and family that we wonder where the planes are going and dream of an amazing holiday or warm destination. The clever technology allows this advert to engage people there and then and answer that question for them. We hope it will create a real ‘wow’ and people will be reminded how amazing flying is and how accessible the world can be.”

The destinations can also be updated immediately depending on changing focus routes for the airline. The ads are part of the airlines’ “Magic of Flying” campaign, which aims to remind people of how magical flying can be, especially from the eyes of a child. The “interactive” billboards are located in London’s Piccadilly Circus and Chiswick.


Haddon Sundblom for Coca-Cola – The Man Who Painted Christmas

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Though he was not the first artist to create an image of Santa Claus for Coca-Cola advertising, Haddon Sundblom’s version became the standard for other Santa renditions and is the most-enduring and widespread depiction of the holiday icon to this day. Coca-Cola’s Santa artworks would change the world’s perception of the North Pole’s most-famous resident forever and would be adopted by people around the world as the popular image of Santa.

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In the 1920s, The Coca-Cola Company began to promote soft drink consumption for the winter holidays in U.S. magazines. The first Santa ads for Coke used a strict-looking Claus. In 1930, a Coca-Cola advertised with a painting by Fred Mizen, showing a department store Santa impersonator drinking a bottle of Coke amid a crowd of shoppers and their children.
Not long after, a magical transformation took place. Archie Lee, then the agency advertising executive for The Coca-Cola Company, wanted the next campaign to show a wholesome Santa as both realistic and symbolic. In 1931, the Company commissioned Haddon Sundblom, a Michigan-born illustrator and already a creative giant in the industry, to develop advertising images using Santa Claus. Sundblom envisioned this merry gentleman as an opposite of the meager look of department store Santa imitators from early 20th century America.

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Sundblom turned to Clement Moore’s classic poem “A Visit from St. Nicholas” (better known as “’Twas the Night Before Christmas”) for inspiration:

His eyes — how they twinkled! His dimples: how merry,
His cheeks were like roses, his nose like a cherry;
His droll little mouth was drawn up like a bow,
And the beard of his chin was as white as the snow

The ode’s description of the jolly old elf inspired Sundblom to create an image of Santa that was friendly, warm and human, a big change from the sometimes-harsh portrayals of Santa up to that time. He painted a perfectly lovable patron saint of the season, with a white beard flowing over a long red coat generously outlined with fur, an enormous brass buckle fastening a broad leather belt, and large, floppy boots.

Sundblom’s Santa was very different from the other Santa artworks: he radiated warmth, reminded people of their favorite grandfather, a friendly man who lived life to the fullest, loved children, enjoyed a little honest mischief, and feasted on snacks left out for him each Christmas Eve . Coca-Cola’s Christmas campaign featuring this captivating Santa ran year after year.

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As distribution of Coca-Cola and its ads spread farther around the world, Sundblom’s Santa Claus became more memorable each season, in more and more countries. The character became so likable, The Coca-Cola Company and Haddon Sundblom struck a partnership that would last for decades. Over a span of 33 years, Haddon Sundblom painted imaginative versions of the “Coca-Cola Santa Claus” for for Coke advertising, retail displays and posters.

Sundblom initially modeled Santa’s smiling face after the cheerful looks of a friend, retired salesman Lou Prentiss. “He embodied all the features and spirit of Santa Claus,” Sundblom said. “The wrinkles in his face were happy wrinkles.” After Prentiss passed away, the Swedish-American Sundblom used his own face as the ongoing reference for painting the now-enduring, modern image of Santa Claus.

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In 1951, Sundblom captured the Coca-Cola Santa “making his list and checking it twice.” However, the ads did not acknowledge that bad children existed and showed pages of good boys and girls only. Mischievous and magical, the Coca-Cola Santa was not above raiding the refrigerator during his annual rounds, stealing a playful moment with excited children and pets, or pausing to enjoy a Coca-Cola during stops on his one-night, worldwide trek. When air adventures became popular, Santa also could be caught playing with a toy helicopter around the tree.

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Haddon Sundblom passed away in 1976, but The Coca-Cola Company continues to use a variety of his timeless depictions of Saint Nicholas in holiday advertising, packaging and other promotional activities. The classic Coca-Cola Santa images created by Sundblom are as ubiquitous today as the character they represent and have become universally accepted as the personification of the patron saint of both children and Christmas.

As Joanna Berry, Lecturer in Marketing at Newcastle University Business School, explains: “Whilst Sundblom didn’t invent Santa as the jolly, white haired rotund old man we all now expect, he certainly did more than anyone to imprint that image onto our minds in relation to Coca-Cola in one of the most enduring brand images ever to have been created.”

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A tribute to Haddon Sundblom from “Coke Side of Life” Campaign

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Cannes Lions: Italian Advertising That Really Works (2001/2011)

MTV (Death Penalty Message) – MISTAKE


Advertising Agency: Saatchi & Saatchi, Milan
Creative Director: Agostino Toscana
Copywriter: Guido Cornara
Art Director: Agostino Toscana
Production Company: BRW Production
Director: Agostino Toscana
Year: 2001
Silver Lion

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FIAT (Seize the moment) – THE ARGUMENT/CHESS/AFTER HOURS

A man in his flat overhears a woman above arguing with her boyfriend on the phone. He goes up to find out if she’s single now. Super: Seize the moment.
We see two men playing chess in front of an audience. At check, a mobile rings, distracting everyone. The other player eats a piece. Super: Seize the moment.
An employee catches his boss having sex with a woman on his office floor. He takes the opportunity to ask for a payrise. Super: Seize the moment.
Advertising Agency: Leo Burnett, Milan
Creative Director: Enrico Dorizza/Mauro Manieri
Copywriter: Mauro Manieri
Art Director: Alessandro antonini
Production Company: Mercurio Cinematografica
Director: Magnis Wikmann
Year: 2002
Bronze Lion for the campaign

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Rexona Deodorant – BLIND

A girl waits for a bus. A blind man approaches and, from her smell, he mistakes her for the rubbish bin.
Advertising Agency: Lowe Pirella
Creative Director: Aldo Cernuto/Roberto Pizzigoni
Copywriter: Piero Lo Faro
Art Director: Piero Lo Faro
Production Company: Filmaster
Director: Piero Lo Faro
Year: 2002
Bronze Lion

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The Face Post Production Company – NEED A POST FACILITY?

A young man, trying to run through a wall, crashes into it and falls down dead. Click here for the commercial
 Advertising Agency: Fagan Reggio Del Bravo
Copywriter: Emanuele Madeddu
Art Director: Patrizio Marini
Production Company: Mercurio Cinematografica
Director: Gigi Piola
Year: 2002
Bronze Lion

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GameBoy Advance – CLASSROOM

Those who exceed 96 levels of difficulty on the new gameboy are worthy of our respect. Click here for the commercial
Advertising Agency: Leo Burnett, Milan

Creative Director: Enrico Dorizza/Sergio Rodriguez
Copywriter: Paolo Lentini
Art Director: Cristina Baccelli
Production Company: The Family
Director: Lee Donaldson
Year: 2003
Bronze Lion

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Volkswagen Golf – REFLECTIONS


A Golf is parked in car park. As cars pass they are reflected in its gleaming exterior. Whilst the Golf stays in the car park year after year other models and makes seem to come and go. Click here for the commercial
Advertising Agency: DDB, Milan
Creative Director: Enrico Bonomini/Giuseppe Mastromatteo/Stefano Tumiatti
Copywriter: Enrico Bonomini/Stefano Tumiatti
Art Director: Giuseppe Mastromatteo
Production Company: The Family
Director: Federico Brugia
Year: 2003
Shortlist

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Peugeot 206 – THE SCULPTOR

A young Indian runs his old car into a wall. After bashing the bodywork out of shape using every means available, including an elephant, he’s not satisfied and starts to hammer away at the details with a certain panache. We think he is destoying his car, but he’s “sculpting” it.
Advertising Agency: Euro RSCG, Milan
Creative Director: Giovanni Porro/Roberto Greco
Copywriter: Roberto Greco
Art Director: Giovanni Porro
Production Company: Bandits, France
Director: Matthijs Van Heijningen
Year: 2003
Gold Lion

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BMW Adaptive Headlights – LIGHT


Headline: BMW introduce adaptive headlights. Light reaches places it never did before

Advertising Agency: D’Adda, Lorenzini, Vigorelli, BBDO
Creative Director: Giovanni Porro/Stefano Campora
Copywriter: Vicky Gitto
Art Director: Stefano Rosselli
Photograspher: Darren Rees
Year: 2003
Shortlist

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Game Boy Advance – FOOTPRINTS/LIGHT SWITCH/ELEVATOR


Advertising Agency: Leo Burnett
Creative Director: Sergio Rodriguez/Enrico Dorizza
Copywriter: Paolo Guglielmoni
Art Director: Edoardo Aliata
Photographer: Riccardo Bagnoli
Year: 2003
Shortlist

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Mondadori – SEVENTY YEARS OF SOLITUDE


Advertising Agency: Saatchi & Saatchi, Milan
Creative Director: Guido Cornara/Agostino Toscana
Copywriter: Giuseppe Mazza
Art Director: Alessandro Stenco
Photographer: Enzo Monzino
Year: 2003
Shortlist

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Volkswagen for safety – TIES


Advertising Agency: DDB, Milan
Creative Director: Enrico Bonomini/Giuseppe Mastromatteo
Copywriter: Luca Fontana
Art Director: Giovanni Policastro
Photographer: Fulvio Bonavia
Year: 2003
Shortlist

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Harrison – SLIP/SHOE

Advertising Agency: Alkatraz, Milan
Creative Director: Vicky Gitto/Stefano Rosselli
Copywriter: Vicky Gitto
Art Director: Stefano Rosselli
Photographer: Fulvio Bonavia
Year: 2003
Shortlist

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Dialogo nel buio Exibition – CASH DISPENSER/INTERPHONE/MANHOLE COVER


Headline: Don’t trust your eyes. Dialogue in the dark. A journey where your guide is visually impaired.

Advertising Agency: Red Cell, Milan
Creative Director: Pino Rozzi/Roberto Battaglia
Copywriter: Pino Rozzi/Filippo Rizzo
Art Director: Roberto Battaglia/Peppe Cirillo
Photographer: Luca Perazzoli
Year: 2003
Shortlist

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Heineken – DOG

In a bar a dog starts licking the beer poured by a Heineken bottle accidentally knocked over. A man puts the lead on the dog. It’s a blind person. The dog guides his lurching owner. People who drink and drive are dangerous, for other people too. Think about it.
Advertising Agency: JWT, Milan
Creative Director: Pietro Maestri
Copywriter: Bruno Bertelli
Art Director: Cristiana Boccasini
Production Company: Filmaster, Milan
Director: Dave Merhar
Year: 2004
Bronze Lion

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Durex Condoms – SWIMMING POOL/ELEVATOR/SNOW

Durex performa puts your orgasm on hold. This is why we see different men having orgasms in the most unexpected moments of the day: even at the swimming pool
A young man climaxes while stuck in a elevator.
A man appears to have an orgasm whilst shovelling snow and look around, embarrassed. Duret Performs-delay your climax.
Advertising Agency: McCann Erikson, Milan
Creative Director: Federica Ariagno/Giorgio Natale
Copywriter: Francesca Pagliarini
Art Director: Gaetano Del Pizzo
Production Company: Filmaster, Milan/Mercurio Cinematografica
Director: Bosi&Sironi/Dario Piana
Year: 2004
Bronze Lion for the campaign

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 Trony – THE HOLE

In his flat a boy proudly shows to some friends his new flat-screen TV. However, when a girl asks for the toilet, he denies. As the girl leaves, we discover the trick: the TV is actually stuck in a big hole in the wall, which communicates with the toilet!
Advertising Agency: INAdv, Milan
Creative Director: Anna Montefusco
Copywriter: Massimo Ambrosini
Art Director: Francesco Crespi
Production Company: Central Groucho
Director: Matteo Pellegrini
Year: 2004
Shortlist

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Brunch Film Festival – LITTLE GUY

Click here for the commercial
Advertising Agency: Publicis, Milan
Creative Director: Alisdhair MacGregor
Production Company: Filmaster, Milan
Director: Dario Piana
Year: 2004
Shortlist

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SKY Sport – SKY SOCCER

An unusual perspective on soccer. Some famous soccer players take care of their supporters. This pay off follows: “If you love soccer, soccer loves you”.
Advertising Agency: Red Cell, Milan
Creative Director:Pino Rozzi/Roberto Battaglia
Copywriter: Riccardo Chadwick
Art Director: Peppe Cirillo
Production Company: (h)Film
Director: Joe Public
Year: 2004
Shortlist

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SKY Sport – INZAGHI

Advertising Agency: Red Cell, Milan
Creative Director: Pino Rozzi/Roberto Battaglia
Copywriter: Riccardo Chadwick
Art Director: Peppe Cirillo
Photographer: Jouk Oosterhof
Year: 2004
Shortlist

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SKY Movie – CHOCOLATE BAR/PIZZA/BEER CAN/BABY


Advertising Agency: Red Cell, Milan
Creative Director:Pino Rozzi/Roberto Battaglia
Copywriter: Stefania Siani
Art Director: Federico Pepe
Photographer: Pierpaolo Ferrari
Year: 2004
Shortlist

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Downtown Gym Club – YELLOW SWIMSUIT/GREEN DRESS/BLUE LINGERIE

Advertising Agency: Red Cell, Milan

Creative Director: Pino Rozzi/Roberto Battaglia
Copywriter: Pino Rozzi
Art Director: Roberto Battaglia
Photographer: Pierpaolo Ferrari
Year: 2004
Shortlist

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E-Dentical.com – KEYTOOTH


Advertising Agency: Red Cell, Milan
Creative Director: Pino Rozzi/Roberto Battaglia
Copywriter: Laura Cattaneo
Art Director: Giorgio Cignoni
Photographer: Max/Douglas
Year: 2004
Shortlist

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Hair Stylist Academy – DOR MAT

Advertising Agency: Young & Rubicam, Milan
Creative Director: Aldo Cernuto/Roberto Pizzigoni
Copywriter: Marco Cremona
Art Director: Alessandra Carù
Photographer: Oriani/Origone/Studio Ros
Year: 2004
Shortlist

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MTV Brand:new – IVANO GASGAS

An absurd theatre in which everybody can declare his own authenticity. A man sucks on a helium balloon & sings ‘Baby, one more time’.
Advertising Agency: This is a Thing!, Milan
Creative Director:Pino Rozzi/Roberto Battaglia
Copywriter: Stefania Siani
Art Director: Federico Pepe
Production Company: (h)Film
Director: Maci
Year: 2004
Shortlist

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Enel – PLUG

The main idea of the campaign is to explain that energy is not that simple to get as one could imagine. It is infact made through the fruit of men, investments, research and new technologies. To show this various people power electrical goods in strange places, through stone, metal, sand, etc.
Advertising Agency: Saatchi & Saatchi
Creative Director: Luca Albanese/Francesco Taddeucci
Copywriter: Francesco Taddeucci
Art Director: Luca Albanese
Production Company: The Family, Milan
Director: Paul Arden
Year: 2004
Shortlist

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Nissan 350 z – KERBS


Advertising Agency: TBWA/Italia
Creative Director: Fabrizio Russo
Copywriter: Alessio Riggi
Art Director: Geo Ceccarelli
Photographer: Tiamat/Virgilio Favale
Year: 2004
Shortlist

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Telecom Italia – GANDHI

In the late 30s, we see Gandhi giving a speech in front of a modern webcam.
Through the various telecommunication devices, the whole world listens to the message of love.
A writing appears: ‘Imagine the world today if he could have communicated like this.’ Then the logo ‘Telecom Italia’ appears.
Advertising Agency: Young & Rubicam, Milan
Creative Director: Aldo Cernuto/Roberto Pizzigoni
Copywriter: Marco Cremona
Art Director: Isabella Bernardi
Production Company:Colorado Film, Milan
Director: Spike Lee
Year: 2005
Bronze Lion

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Forum Crisalide, Bulimia Prevention – REVERSE

A girl seems to be eating. In fact the scene is shot in reverse, food is coming out of her mouth. It is a metaphor of bulimia. Talking about it is the only way to make things go in the right direction.

Advertising Agency: Leo Burnett, Milan
Creative Director: Sergio Rodriguez/Enrico Dorizza
Copywriter: Francesco Bozza
Art Director: Alessandro Antonini
Production Company: Mother Film Company
Director: Alessandra Pescetta
Year: 2005
Bronze Lion

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Ottica Bergomi – NEVER TO LATE


A young lady who realises when she’s 30 that she has been adopted. Click here for the commercial

Advertising Agency: Internal Agency
Copywriter: Sergio Spaccavento
Art Director: Sergio Spaccavento
Production Company: NEW WAYS Milan
Director: Matteo Pellegrini
Year: 2005
Shortlist

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IKEA – WATCH YOUR STEP


A man enters a dark room; when the door closes frame and theatre go black. We follow the noises of the man painfully banging into several objects. On every hit appears a super with name and price of an IKEA bedroom item. His wife went shopping at IKEA.
Click here for the Commercial

Advertising Agency: Publicis, Milan
Creative Director: Alasdhair MacGregor-Hastie
Associate Creative Director: Piero Bagolini/Silvano Cattaneo
Copywriter: Marco Venturelli
Art Director: Fabrizio Tamagni
Production Company: Harold & Motion, Milan
Year: 2005
Shortlist

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Playstation/Tif 2004 – GENERAL PROTEST/THERAPY



With This is Football 2004 on line all has changed…

Advertising Agency: TBWA/Italia
Creative Director: Fabrizio Russo
Copywriter: Andrea Fogar
Art Director: Geo Ceccarelli
Production Company: Mercurio, Milan
Director: Paolo Monico
Year: 2005
Shortlist

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Henkel – BULL/PANTHER/MONKEY

Advertising Agency: D’Adda, Lorenzini, Vigorelli, BBDO
Creative Director: Giuseppe Mastromatteo/Luca Scotto di Carlo
Copywriter: Giovanni Chiarelli
Art Director: Serena Di Bruno
Photographer: Fulvio Bonavia
Year: 2005
Shortlist

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Nissan Micra – TARPAULIN

Advertising Agency: TBWA/Italia
Creative Director: Fabrizio Russo
Copywriter: Alessio Riggi
Art Director: Fabrizio Caperna
Photographer: Larry Russo
Year: 2005
Shortlist

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Intrecci Hairdressers – PRAYING/SISTER IN WHITE

Advertising Agency: Red Cell
Creative Director: Pino Rozzi/Roberto Battaglia
Copywriter: Stefania Siani
Art Director: Federico Pepe
Photographer: Pierpaolo Ferrari
Year: 2005
Shortlist

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Zoogami – BRAND DESIGN

Zoogami was born in 2003 as a inspired by story that mixes western and eastern culture. The main objective of this project is to build a strong brand, thanks to artistic and intellectual values.  Zoogami was created as a Corporation that ironically, and realistically at the same time, grows into different branches, in which single projects are developing already or will develop into the different market sectors.
The first job is the record realized in Spain with Caesar and the authors of Cafè Del Mar . The second project is the superior quality beer.
The third project is for a branded clothing collection, composed by12 sophisticated items.

Click here for the project

Advertising Agency: Fishouse
Creative Director: Alessandro Orlandi
Designer: Alessandro Orlandi
Art Director: Ciriano Zanon
Year: 2005
Cyber Lion: Shortlist

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Resident Evil 2  – APOCALYPSE


Website created for the Italian launch of the movie “Resident Evil 2”.

Click here for the project

Advertising Agency: Saatchi & Saatchi, Rome
Creative Director: Paola Inzolia
Copywriter: Massimo Caiati
Art Director: Stefano Pedretti
Year: 2005
Cyber Lion: Shortlist

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Lavazza Coffea – CALENDAR 2005



The subject is the circus seen through Olaf’s eyes. A world that realises unique images of Espresso: the main character, as always, of Lavazza calendars.
This theme gave us the chance to experiment with unusual effects: a tiger walking on a white page expands the dreamy idea and invites the user to discover new emotions, from glamour to creativity. Colours, together with the navigation system, give a personal and playful rhythm. Finally the tiger gave its magnetic personality to the site.
Not only for artists: glamour and fashion lovers, trend maniacs who pay attention to the world we live in.

Advertising Agency: Testaweb, Turin
Creative Director: German Silva/Marco Faccio
Copywriter: Marina Leonardini/Daniele Bona
Art Director: Raffaella Di Gesù/Heitz Mendibil
Designer: Andrea Lantelme
Year: 2005
Cyber Lion: Shortlist

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Ariston Aqualtis – UNDERWATER WORLD


An entire ocean of laundry finds space in the new Aqualtis washing machine. Winner at Cannes, Clio, D&D and now on permanent display in the Louvre Paris as an example of modern art in advertising.

Advertising Agency: Leo Burnett, Milan
Creative Director: Enrico Dorizza/Sergio Rodriguez
Copywriter: Francesco Simonetti
Art Director: Antonio Cortesi
Production Company: Filmaster, Milan
Director: Dario Piana
Year: 2006
Gold Lion

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Halls Extra Strong – VAPOURS


A man is inhaling vapours for all he’s worth but we discover at the end that he wasn’t using the classic balsamic essences.

Advertising Agency: JWT, Milan
Creative Director: Pietro Maestri/Alberto Citerio
Copywriter: Giovanni Salvaggio
Art Director: Stefano Fantini
Production Company: Moviefarm, Milan
Director: Gaetano Vaudo
Year: 2006
Bronze Lion

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Reactine Allergy Relief – SAVANA


The cheetah is the fastest animal in the savannah. This time, however, he’s chased by an hippo, that surprisingly is running faster than him. This is a metaphor of Reactine: Surprisingly fast. Against Allergy. Click here for the Commercial

Advertising Agency: JWT, Rome
Creative Director: Pietro Maestri/Paolo Ronchi
Copywriter: Alfredo Ruggieri
Art Director: Pierfranco Fedele
Production Company: Mercurio SPQR
Year: 2006
Bronze Lion

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Halls Original – RADIO


We hear a radio that’s suffering from interference. A man moves the aerial to centre the frequency better. When we finally hear a clear voice from the radio, we realize that what he was moving wasn’t an aerial.

Advertising Agency: JWT, Milan
Creative Director: Pietro Maestri/Alberto Citerio
Copywriter: Giovanni Salvaggio
Art Director: Stefano Fantini
Production Company: Moviefarm, Milan
Director: Gaetano Vaudo
Year: 2006
Shortlist

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Illy Caffè – SEEING BEAUTY


What is beauty? We only really notice it when we find ourselves up against it. We can see it and be spellbound. We can listen to it and the sound stays with us for ages. We can touch it and our hands memorize its outlines. And we can discover, as in this case, that it’s also got its own flavour: that of a perfect espresso. The taste of Illy.

Advertising Agency: JWT, Milan
Creative Director: Pietro Maestri/Alex Brunori
Copywriter: Alex Brunori
Art Director: Fabio Anzani
Production Company: BRW & Partners, Milan
Director: Matthias Zentner
Year: 2006
Shortlist

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Arena Swimwear – TORPEDO


Inside an aircraft, the crew is taken up with the navigation. Suddenly the radar plots a strange and apparently dangerous object in the water, getting closer and closer to the ship. Panic among the people, before the impact. However, we see that the object isn’t a torpedo as it seemed, but a swimmer, who’s approaching the craft. He hits it, using the shipboard as it was a swimming pool one. The special swimmer is The Olympic champion Massimiliano Rosolino, wearing the Arena “Powerskin Extreme” high competition swimsuit.

Advertising Agency: Lowe Pirella
Creative Director: Umberto Casagrande/Maurizio Maresca
Copywriter: Maurizio Maresca
Art Director: Umberto Casagrande
Production Company: Filmaster, Milan
Director: Dario Piana
Year: 2006
Shortlist

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Peugeot 206 – WORLD FAN CLUB


Peugeot 206 has mythical status – you’d do anything to have one.

Advertising Agency: Euro RSCG, Milan
Creative Director: Roberto Greco
Copywriter: Marco Geranzani
Art Director: Giordano Curreri
Production Company: Soixante Quinze, Paris
Director: Jonathan Herman
Year: 2006
Shortlist

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Sky Sport – KAKA’

The World Cup Germany is closer. Kaka prepare for it dancing in a traditional costumes…

Advertising Agency: 1881 United, Milan
Creative Director: Pino Rozzi/Roberto Battaglia
Production Company: (h)Films/Hungry Man, London
Director: Owen Harris
Year: 2006
Shortlist

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Mediaset Premium tv – GREAT CINEMA


There are several people: Different ages, dressed in their own clothes, they are all trying lines from a famous film….. the lines abviously, are not delivered as professional actors would say them. A Super appears: We all deserve to get into great cinema.

Advertising Agency: Saffirio, Tortelli, Vigoriti, Turin
Creative Director: Aurelio Tortelli
Copywriter: Michela Grasso
Art Director: Daniele Ricci
Production Company: Movie Magic International, Milan
Director: Angel Gracia
Year: 2006
Shortlist

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Reale Mutua Insurance – CIRCUS


Members of a circus describe how they were saved by an insurance man.

Advertising Agency: Saffirio, Tortelli, Vigoriti, Turin
Creative Director: Aurelio Tortelli
Copywriter: Michela Grasso
Art Director: Daniele Ricci
Production Company: The Family, Milan
Director: Carl Erick Rinsch
Year: 2006
Shortlist

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MINI (Eat Out Food Magazine) – PEPPER & SALT/TABLECLOTH/GRATER

Advertising Agency: D’Adda, Lorenzini, Vigorelli, BBDO
Creative Director: Giuseppe Mastromatteo, Luca Scotto Di Carlo
Copywriter: Federico Bonenti, Alessandra Bergamaschi
Art Director: Luca Zamboni, Luis Toniutti
Photographer: Piero Perfetto
Year: 2006
Shortlist

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MINI Cooper S – BULL

Advertising Agency: D’Adda, Lorenzini, Vigorelli, BBDO
Creative Director: Giuseppe Mastromatteo, Luca Scotto Di Carlo
Copywriter: Nicola Lampugnani, Lorenzo Crespi
Art Director: Anselmo Tumpic, Pier Giuseppe Gonni
Photographer: Piero Perfetto
Year: 2006
Shortlist

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MINI Cabrio – POINTS

Advertising Agency: D’Adda, Lorenzini, Vigorelli, BBDO
Creative Director: Giuseppe Mastromatteo, Luca Scotto Di Carlo
Copywriter: Nicola Lampugnani
Art Director: Anselmo Tumpic
Photographer: Piero Perfetto
Year: 2006
Shortlist

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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
Year: 2006
Shortlist

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Nintendo DS – COMMUNION

Advertising Agency: Leo Burnett, Milan
Creative Director: Enrico Dorizza, Sergio Rodriguez
Copywriter: Paolo Guglielmoni
Art Director: Rosmary Collini Bosso
Photographer: Max&Douglas
Year: 2006
Shortlist

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Heineken (Anti Drink Driving Campaign) – TOILETTE/PUB

Advertising Agency: JWT, Milan
Creative Director: Pietro Maestri, Bruno Bertelli
Copywriter: Bruno Bertelli
Art Director: Cristiana Boccasini
Photographer: Giovanni Pirajno
Year: 2006
Shortlist

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Splinter Cell Chaos Theory – SAM FISHER

Brief
Once considered a pioneer in its genre, the Splinter Cell franchise has lost ground as its competition floods the market with look-alike games. With the release of a new game in the series, the goal is to recapture the attention of a target that sees little differentiation in the genre.

Media Strategy
Splinter Cell’s Sam Fisher, one of genre’s most renowned characters, was created with the help of real-life military experts with insight into the cold reality of the espionage. Knowing the care and precision that goes into these games, players keep coming back to “re-live” the special operations experience. The media strategy was entirely designed with a simple objective: bring suspense into gamers’ life via incognito missions utilising radio intrusions during the day and guerrilla activity during the night.

Idea
After a weekend with friends, the target was greeted with electrostatic stickers designed to look like bullet holes were attached to car windows parked in key hangout areas. A note next to it said: “Thank you!! My name is Sam Fisher. I took your car to run after terrorists. Unfortunately a bullet hit the car window. My contact is http://www.samfisher.it.” Radio spots the next morning revealed what was going on… Sam Fisher is back!

Results
The plan was created to surround the target throughout the week. Their favourite national radio DJs teased the execution during the week and revealed it on the weekend. The OOH execution engaged the target in common areas for weekend nightlife. The atmosphere surrounding the area added to the realism of the execution and effectively reached large groups of our target audience. The suspense created around the comeback of Sam Fisher and the Splinter Cell franchise propelled gamers’ intention to buy to the point that sales figures were reached 2 weeks in advance compared to client objectives.

Advertising Agency: Carat
Strategic Team: Stefano Spadini, Francesca Costanzo, Franca Melloni
Year: 2006
Shortlist

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Nike Italy – RUN 4 CESARE

Run the City is a global event organised to create awareness over running. Poor money, great objectives. The Rome project: Cesare was an overweight man to whip into shape and sign up to RUN ROME 05. Runners had to log on to run4cesare.com and let us know their workout. The longer they ran, the greater the possibility Cesare would get off his butt and run. Three webcams were set up in his house 24/7 and a troupe tailed him live on all his
training runs. RUN4CESARE: 40 days of live webcam coverage-20,975 web visits-1522 runners entered for the race.

Advertising Agency: Fagan Reggio Del Bravo, Rome
Creative Director: Patrizio Marini
Copywriter: Emanuele Madeddu
Art Director: Patrizio Marini, Manuel Musilli
Designer: Manuel Musilli
Year: 2006
Shortlist

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Casinò di Venezia – KEEP PLAYING

Venezia Marco Polo Airport. Baggages convey belts/carousel

Advertising Agency: ADMCOM, Bologna
Creative Director: Maurizio Cinti
Copywriter: Rebecca Rossi, Maurizio Cinti, Silva Fedrigo
Art Director: Andrea Ligi, Sergio Lelli
Year: 2007
Bronze Lion

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Arnold Worldwide Italy  – VOODOO KIT

Arnold Worldwide Italy opened a guerrilla marketing department called Arnold Guerrilla. We needed to advertise the service to marketing managers. To communicate that with Guerrilla Marketing everything is granted and to make something unique that could strike marketing managers. The Marketing Voodoo Kit made in single copies is an object that marketing managers would want to keep on their desk and show to their collegues. Coca Cola Italy and Nike Italy called us for an agency presentation. Grana Padano Cheese asked us to enter the pitch for Grana Padano Cheese and San Daniele Ham.

Advertising Agency: Arnold Worldwide Italy, Milan
Creative Director: Maurizio Maresca, Alessandro Sabini, Paolo Troilo
Copywriter: Alessandro Sabini
Art Director: Paolo Troilo
Year: 2007
Bronze Lion

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Vodafone – TOTTI & GATTUSO (WE ARE FAMILY)

Vodafone is a big family (all its subscribers). We have 2 testimonials that are a part of this family. They are so many people that make the queue for everything they do.
Advertising Agency: 1861 United, Milan
Creative Director: Pino Rozzi, Roberto Bataglia
Copywriter: Stefania Siani
Art Director: Federico Pepe
Production Company: Mercurio Cinematografica, Milan
Director: Giuseppe Capotondi
Year: 2007
Shortlist

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MTV – APRIL FOOL

A teleseller proposes a shocking investment to buy a house on a hill today and in 15 years you be under the sea thanks to the total overheating … the April Fool’s joke is revealed

Advertising Agency: Arnold Worldwide Italy, Milan
Creative Director: Maurizio Maresca, Alessandro Sabini, Paolo Troilo
Copywriter: Alessandro Sabini
Art Director: Paolo Troilo
Production Company: (h) Milan
Director: Carlo Crapanzano
Year: 2007
Shortlist

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Mariella Merendino Cashmere – CASHMERE SHEEP

Advertising Agency: DDB, Milan
Creative Director: Vicky Gitto
Copywriter: Vicky Gitto
Art Director: Andrea Maggioni
Year: 2007
Shortlist

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Bye Helmets – HANDS BOY/HANDS GIRL

Advertising Agency: 1861 United
Creative Director: Pino Rozzi, Roberto Battaglia
Copywriter: Luca Beato
Art Director: Giorgio Cignoni
Photographer: Fulvio Bonavia
Year: 2007
Shortlist

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The Pink Line – TELEPHONE

The purpose of the campaign is to promote the phone line service offered by the Pink Line. The Pink Line helps and supports women being victims of violence and abuse.

Advertising Agency: Saatchi & Saatchi, Rome
Creative Director: Francesco Taddeucci, Luca Albanese
Copywriter: Jorg Riommi
Art Director: Arturo Vittorioso, Clarissa Biaggi
Photographer: Giuseppe Di Vita
Year: 2007
Shortlist

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Turin Paralympic Games 2006 – PODIUM

Advertising Agency: JWT, Milan
Creative Director: Pietro Maestri
Copywriter: Francesco Muzzopappa
Art Director: Fabrizio Pozza
Photographer: Mauro Turatti/Livello 06
Year: 2007
Shortlist

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Tuc Snack Saiwa – WHEN HUNGER STRIKES

When hunger strikes suddenly, it may be tempting to eat the first thing at hand. An interactive video banner, in which it is possible to suggest to a funny and starving office worker to eat the objects on his desk. He will be happy to take in these suggestions… but his telephone, the cactus, the photo-holder and the pc screen will turn out to be too heavy food. When it is time for a snack, there is only one right choice: TUC by Saiwa. For now, if you think you can sustain explicit scenes of hunger, meet the man in his office. Click here for the project

Advertising Agency: DCM Fullsix, Milan
Creative Director: Simonetta De Brumatti
Copywriter: Luca Comino
Art Director: Giuseppe Bizzarro
Year: 2007
Shortlist

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Koleston – HAIR LIPS

Advertising Agency: Leo Burnett, Milan
Creative Director: Enrico Dorizza, Sergio Rodriguez
Art Director: Alessandro Padalino
Photographer: Studio Ros
Year: 2008
Silver Lion

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Arena Swimwear – AUDIENCE

An audience is sitting in a sports arena. Spectators are turning their heads with fast and rhythmic movements, as if they are watching a tennis match. A super appears: Swimming gets faster. As the audience starts cheering, the Arena logo and payoff appear.

Advertising Agency: Lowe Pirella Fronzoni
Creative Director: Francesco Bozza, Umberto Casagrande
Copywriter: Andrea Stanich
Art Director: Pietro Lorusso
Production Company: First Floor Films
Year: 2008
Shortlist

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Nat Geo Adventure Channel – TAXI

Advertising Agency: AM Newton 21, Rome
Creative Director: Luca Maoloni, Gabriella Ambrosio
Copywriter: Gabriella Ambrosio
Art Director: Luca Maoloni
Production Company: Mercurio SPQR, Rome
Director: Brecht Vanhoenacker
Year: 2008
Shortlist

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Freddy Sportswear – DIVING/100 METRES

Freddy: official sponsor of the Italian athletes at the Beijing 2008 Olympic games. “Freddy Olimpiadi” project: Three movies featuring three Olympic athletes: Elisa Santoni for rhythmic gymnastics, Simone Collio for the 100 metres sprint, Tania Cagnotto for 3m diving. The idea of all movies is that athletes “gamble” their whole life during their Olympic performance. In these movies, the athletes’ stream of consciousness replaces their body, and is represented through various animation techniques. The claim “Olympic games performed by Freddy” gives the Freddy point of view on Olympic Games: an artistic and performing exploration on the movement theme.

Advertising Agency: 1861 United
Creative Director: Pino Rozzi, Roberto Battaglia
Copywriter: Stefania Siani
Art Director: Federico Pepe
Production Company: (h) Films, Milan
Director: Bill Barluet/Tommaso Cariboni
Year: 2008
Shortlist

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Freddy Sportswear – RITHMIC GYMNASTICS

What do the Olympics mean for an athlete? In the Olympics, an athlete puts his whole life at stake in few, decisive moments, and unique sensations hide in each move. The flow of thoughts and emotions felt by the athletes is visualized in a surprising, striking way: the bodies of the protagonists themselves become veritable art installations, made by objects which represent the thoughts and feelings flowing through the athletes during their main performance, and become bodies again at the end. A celebration of movement, in the legendary background of the Olympics, original and spectacular, following the artistic orientation which is typical of the brand: the ‘Olympic Games performed by Freddy’.

Advertising Agency: 1861 United
Creative Director: Pino Rozzi, Roberto Battaglia
Copywriter: Stefania Siani, Luca Beato
Art Director: Federico Pepe, Micol Talso
Photographer: Lorenzo Vetturi
Year: 2008
Shortlist

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San Raffaele Hospital – VIDEOGAME

We are in a “Doom” like video game. We see through the eyes of the player who runs after a very fast-footed enemy. Running along a corridor, climbing up some stairs the player stops to get his breath back. He now comes to some more stairs but decides not to climb them. He’s tired out and looks at his belly. We now realise he’s an obese child. Line: ‘Video games are one of the principal causes of child obesity. Encourage children to play outside’.

Advertising Agency: JWT, Milan
Creative Director:Pietro Maestri, Bruno Bertelli
Copywriter: Bruno Bertelli
Art Director:Cristiana Boccasini
Production Company: Fargo Film, Milan
Director: Gaetano Vaudo
Year: 2008
Shortlist

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Gasser (Grandi Salumifici Italiani) – BLACK SUIT/TEXAN

Advertising Agency: TBWA/Italia
Creative Director: Fabrizio Russo
Art Director: Cristina Baccelli
Copywriter: Sara Ermoli
Photographer: Winkler & Noa
Year: 2008
Shortlist

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Volkswagen (Passat Business with integrated DVD) – TEXTILE FACTORIES/PHARMACEUTICAL INDUSTRY

Advertising Agency:DDB, Milan
Creative Director: Vicky Gitto
Art Director: Cristina Marcellini
Copywriter: Vicky Gitto
Year: 2008
Shortlist

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Par 5 (Fashion Sportswear) – DOOR

Advertising Agency: DDB, Milan
Creative Director: Vicky Gitto
Art Director: Hugo Gallardo Dominguez
Copywriter: Vicky Gitto
Year: 2008
Shortlist

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Yamaha Marine – PLANE

A white stripe cuts through a sky that’s as blue as the deepest sea. It looks like a jet, the world’s fastest moving object. But the profile of an island tells us the blue is actually the sea, and the white spray comes from a boat outfitted with an engine with a unique power, the new Yamaha F350. In a page with a strong, guaranteed impact, all the strength of an engine which can unleash the world’s highest power, like the title says. And which can take the driver above everything, above anyone else.

Advertising Agency: 1861 United
Creative Director: Pino Rozzi, Roberto Battaglia
Copywriter: Laura Cattaneo
Art Director: Giorgio Cignoni
Year: 2008
Shortlist

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MUF (National Comics Museum) – SCREAM

To convince the target that “culture” is not just about established museums or traditional exhibition.
Comics can have the dignity of traditional art forms.

Advertising Agency: JWT, Milan
Creative Director: Pietro Maestri
Copywriter: Bruno Bertelli, Paolo Cesano
Art Director: Cristina Boccassini, Flavio Mainoli
Year: 2008
Shortlist

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Nokia Nseries – INCURSION

At the cinema when the lights are off, the audience stop talking and concentrates on the screen. That’s the best moment to catch their attention. Nokia wanted to do more: they wanted to talk about the new interactive-based phone (music, games, and movies) with an interactive spot, and let the cinema audience experience how an incursion that mixes real life and cinema screening can be exciting and surprising.

Nokia N81 is a mobile phone able to entertain you with a videogame, to make you watch a beautiful movie, to be your own camcorder, to let you listen to your favourite music. Everywhere and every time, it can interact with your reality, taking you where you prefer. That’s because Nokia N81 chooses an interactive spot to communicate and let the cinema audience experience how an incursion that mixes real life and cinema screening can be exciting and surprising. Interaction is the key word for this target. Smart people, in love with technology, in love with excitement and surprise. The spot was on air for four weekends during a month. We are not able to give any business results.

Advertising Agency: Grey, Milan
Creative Director: Francesco Emiliani
Copywriter: Claudia Bavelloni, Francesca Andriani
Art Director: Daniele Dagrada, Stefano Fantini
Production Company: Filmaster, Milan
Director: Alessandro Cattaneo
Year: 2008
Shortlist

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ADMCOM (Self Promotion) – YOC-BOX

The agency aimed at finding an innovative self promotional way to make prospective clients experience its degree of creativity. At the same time, the agency wanted to give life to a highly engaging initiative able to convey the philosophy that animates it. The agency created the “Year Of Creativity_Box”, an original self promotional initiative meant to stimulate people to reinvent themselves every day. It contains 366 illustrated business cards which show 366 different, imaginative professions (one per day in 2008), all of them addressed to the person who receives the box. The operation has already earned the agency a considerable set of prospects’ contacts. So far, 300 YOC_BOXES have been sent and they have generated the acquisition of three new clients.

Advertising Agency: ADMCOM, Bologna
Creative Director: Maurizio Cinti
Copywriter: Silva Fedrigo, Massimiliano Pancaldi
Art Director: Manuel Dall’Olio
Year: 2008
Shortlist

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Shoestring Tour Operator – WILD THERAPY

WHO IS SHOESTRING?
Shoestring is a tour operator that offers an unconventional way to travel in the most adventurous places on the planet.

WHAT IS THE WILD THERAPY?
Four bored, tired and depressed animals need help because they’ve lost their wild life. They just can’t stand “holiday-village-tourists” and miss people who love the real adventure. Enjoy the analysis sessions of these animals to get why they need the Wild Therapy. click here for the project

Advertising Agency: Saatchi & Saatchi, Rome
Creative Director: Guido Cornara, Alessandro Orlandi
Copywriter: Antonio Di Battista, Laura Sordi
Art Director: Manuel Musilli
Year: 2008
Shortlist

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Flora by Gucci Fragrance – GUCCI FLORA

The commercial focuses on the nature of the scent. Model Abbey Lee, surrounded by endless field of pink flowers, gently inhales the fragrance from a single flower. She is caressed by the scent as she in turn sensuously conducts and manipulates it through the field. Her movements become ever more hypnotic as the intensity increases, until the final rush overwhelms her completely and her dress bursts into an intensely beautiful butterfly effect of fabric, light and petal.

Advertising Agency: REM Ruini & Mariotti, Rome
Creative Director:Riccardo Ruini, Chris Cunningham, 
Production Company: RSAFilms, London/Filmaster, Milan
Director: Chris Cunningham
Year: 2009
Gold Lion (Best Use of Music) and Bronze Lion

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Baci Perugina – FROM GIOVANNI TO DONGIOVANNI

Baci Perugina is one of the most important brands of chocolate in Italy, belonging to the Nestlè Group. To capitalise on Baci Perugina’s awareness during the period around Valentine’s Day, it was decided to make an integrated campaign able to get people talking using the only language that has always distinguished Baci Perugina: love. The idea was an impossible love story born online between the shy Giovanni and his beautiful neighbour Gaia.
The plot: Gaia says to Giovanni that if 50,000 people would ask her to kiss him, she will do. So Giovanni makes a video, loads it on YouTube and opens a group on Facebook asking for help. Baci Perugina doesn’t come into the scene from the beginning, but it figures as an “independent supporter” of Giovanni’s initiative. At the end 50,000 mails arrive and Gaia has to kiss Giovanni. 8 videos show the big moments of the story.

The campaign was planned on different media: viral videos, the community engagement through YouTube, Facebook and the Perugina community, an interactive outdoor and a local event.

People soon became fond of the story. In 10 days it has been recorded: 50,000 mails, 151,841 visitors to the Baci Perugina site, 26,678 contacts on YouTube, 5,400,000 impressions on MSN, Sales + 11% in an a-8 market. Giovanni’s story was spontaneously talked about on TG1, the most important national TV news.

Advertising Agency: Armando Testa, Turin
Creative Director: Maurizio Sala, Marco Faccio
Copywriter: Nicola Lampugnani, Francesco Milanesio
Art Director: Francesco Guerrera
Production Company: Little Bull, Turin
Director: Augusto Storero
Year: 2009
Gold Lion

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Loctite Super Attak – WOOD/PLASTIC

Advertising Agency: DDB, Milan
Executive Creative Director: Vicky Gitto
Copywriter: Alessandro Mian
Art Director: Ricard Valero
Photographer: Andrea Melcangi
Year: 2009
Silver Lion for the campaign

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Coca-Cola Italia – ILLUMINA LA CITTA’

Insights, Strategy & the Idea
The 2008 campaign has a new claim “Light up Christmas with a Coca-Cola emotion”. The challenge was to revitalize and further amplify “light up” communication code with innovative activations.
The insight that sparked the idea was drawn from the fact that media at the time was focusing on urban security concerns following an apparent wave of street crime. Dark winter streets were the symbol of this feeling – and large city administrations were putting a lot of effort into bringing light to their citizens. Coca-Cola could leverage this initiative and add joy and positivity to the initiative, by lighting up an urban vehicle (a tram) in the fashion of the traditional Coke Truck – which would navigate the streets at a peak moment in pedestrian.

Creative Execution
In order to illuminate Milan, Coca-Cola has chosen an urban transport icon, the tram – also, supporting the public transport service as a mean of higher security in a traffic-intense part of the year.
Historic trams were converted into branded cable-cars of white light, spreading brilliance through the streets and serve as an iconic image for both the advertiser and the city.
The cars toured the central area of Milan, spreading its positive message with the further support of actual Santa Clauses on board, distributing branded Christmas gifts at every stop. The Coca-Cola logo was highlighted at the head of the car, associated with holiday wishes from the Municipality. Adding a signal of social responsibility, the project was also engineered using low energy technology.
The project was announced in a press conference that also featured prominent Italian political figures including a Minister and the Mayor of Milan.

Results and Effectiveness
Even amongst the already sparkling Christmas decorations of the city, the tram had an extremely positive impact on passers-by and passengers. Immediate reactions captured on the spot clearly show the deep success that this initiative had in enhancing the overall Christmas atmosphere.
Also, due to its public component – as it involved local authorities and the support of their efforts in improving the life and aspect of the city – the action enjoyed a wide resonance and PR support, ranging from publicly expressed commendations from political personalities and the mayor, to press coverage, to word-of-mouth through the population of Milan.

Advertising Agency: Starcom Italia/JWT, Milan
Strategic Director: Alessio Fattore
Creative Director: Pietro Maestri/Bruno Bertelli
Art Director: Cristiana Boccasini/Amedeo Pancella
Year: 2009
Bronze Lion

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BWIN (Online Poker) – POKER ISLAND

Insights, Strategy & the Idea
Online poker was legalized in Italy in September 2008. Due to widespread publicity, offline poker grew from 480,000 players in 2007 to 970,000 in 2008. Online poker is estimated to grow to 4.3 million as legalization welcomes more less-talented players.
Bwin is the world’s largest online gaming organization offering 30,000 daily bets in over 90 sports. But Italy’s marketplace was flooded with competition well ahead of Bwin. Our challenges were to promote Bwin poker and recruit gamers with a budget much smaller than the competitors.
We targeted young men 18-34 who play poker regardless of skill and who use the Internet to find deals, buy tickets and make purchases. They get a kick from testing their skills, but what really seduces them is the lure of the bluff and the glamour associated with the poker world. We gave them the chance to learn from pros and play big style in paradise.

Creative Execution
We developed an online tournament – Bwin Poker Island Challenge – that became a casting call for a chance to play on the ultimate stage: a Mediterranean villa on an island paradise, complete with an infinity pool.
We turned the challenge into a hit reality TV show Poker Island. TV cameras followed the eight finalists on their exclusive championship weekend, transforming them into stars of their own poker program. Six one-hour episodes were part of Sky Italia’s sports schedule.
During the day players battled it out for the final prize of a spot in the reputed Aussie Millions Poker Championship. But at night they played hard enjoying adventures, nightlife and the in-house chef.
Our unique online/offline tournament was promoted through TV, Internet and print. Poker Island aired December 5th, 2008 – January 12, 2009 as Bwin’s logo maintained maximum visibility throughout the program and on all TV guides.

Results and Effectiveness
“Our gamble paid off. The event generated a huge presence both on main and niche poker sites as well as online TV guides and stations covering poker tournaments: • 720,000 impressions, 70% men • Viewers spent an average of 20 minutes engaging with the brand • Players in qualification tournament 8 times over forecast and beyond year’s end target • Market share almost doubled with 2% share of investment vs. competition • The Poker Island audience was 62% higher than the SkySport average”

Advertising Agency: Arnold Worldwide Italy/MPG Italia
Strategy/Development: Guido Surci
Executive Creative Director: Maurizio Maresca
Creative Director: Alessandro Sabini/Paolo Troilo
Year: 2009
Bronze Lion

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New Zoogami Beer – CONTEPORARY BEER

Zoogami releases a new beer and wants to position it as a modern product that follows the evolutions of the world in which we live. This is the Contemporary Beer project, born to explain, in a completely revolutionary way, what happens in the world in real time. Clic here for launch the site

Advertising Agency: Saatchi & Saatchi Roma
Creative Director: Agostino Toscana/Alessandro Orlandi
Art Director: Manuel Musilli
Copywriter: Antonio Di Battista
Year: 2009
Bronze Lion

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MUF (Comics National Museum) – THE BILL/THE WAKING UP/THE SHOT

Advertising Agency: JWT, Milan
Executive Creative Director: Pietro Maestri
Art Directors: Cristiana Boccassini, Flavio Mainoli
Copywriters: Bruno Bertelli, Paolo Cesano
Illustrator: Manlio Truscia

Year: 2009
Bronze Lion for the Outdoor campaign
Bronze Lion for Press campaign

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Stay slim, drink low fat milk – PARMALAT

A boy, coming out of a trailer, greets his parents, relatives and friends who are inside. The boy while drinking a glass of Parmalat milk arranges with friends how to spend the evening. Little by little we see that the trailer is overcrowded. The boy is cycling away when from the inside of the trailer the people scream at him to close the door.

Advertising Agency: Publicis, Milan
Creative Director: Luca Scotto Di Carlo, Vincenzo Gasbarro
Copywriter: Luca Scotto Di Carlo
Art Director: Vincenzo Gasbarro
Production Company: Les Enfants Creative Productions
Director: Vincenzo Gasbarro
Year: 2009
Shortlist

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Auditorium – HEINEKEN

Our consumers (focus: males 18-24) are getting older, duties and responsibilities put at risk their sacred beer moments with friends.
We needed to make our target perceive Heineken as the closest brand to the beer drinkers, making them live an amazing and unconventional brand experience.

To convey the brand position (the entertaining beer) and make our target experience how important is preserving their beer moments with friends, we created a trap for 1000 ACMilan Fans. On the same evening of the match Real-Madrid vs Milan, we brought them to a fake event mixing poetry and classical music. We used 200 our accomplices that, provided with invitation card sponsored by Heineken, persuaded our victims to skip the match and go to the concert. Heineken would have never let its target miss the game, that’s why after 15 mins of concert, we revealed the trap and let the audience join the match on a huge screen.

This promo brought a very high brand awareness increment. TV news, newspaper and blogs widely spoke about the event and it definitively empowered the image of the brand even against its competitor. 1000 victims directly experienced it at the Auditorium, 6 million people saw it live on TV, other million people read about it on the news or on the web the days after.
Even after several months, people keep on talking and making buzz about this event that had a very strong impact on our target.

Promoting the Heineken sponsorship with UEFA Champions League through an event definitively unconventional for beer drinkers has been an innovative way to involve our target and create an immediate activation. The main objective of a Promo is finding a relevant and engaging for the target. The reward here has been an amazing entertaining experience, totally consistent with the brand philosophy and with the target aspiration.

Advertising Agency: JWT, Milan
Creative Director: Pietro Maestri, Bruno Bertelli, Cristiana Boccasini
Copywriter: Cristiano Tonnarelli
Art Director: Marco Viganò
Production Company: Les Enfants Creative Productions
Year: 2010
6 Gold Lions ( 1 Outdoor, 1 Media, 2 Promo, 2 PR)
1 Silver Lion (Direct)
1 Bronze Lion (Direct)

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Beer Gloss – HEINEKEN

Describe the objective of the promotion
The objective of Heineken Valentine’s day is to transform this frightening date, impossible to avoid and not made for beer drinkers, into an occasion to meet its consumers in an entertaining way.

Describe how the promotion developed from concept to implementation
Valentine’s day is a date without friends and beer: guys are forced to go out with girlfriends, have a romantic dinner drinking wine and champagne (everything but the beer) and buy useless gifts. To transform Valentine’s day in a beer day and makes happy our consumers, we created and launched the Beer gloss, the first beer flavoured lip gloss. In this way we offered beer drinkers an entertaining brand experience for Valentine’s day: a real long delightful beer taste on the mouth.

Describe the success of the promotion with both client and consumer including some quantifiable results
Beer Gloss was sold out in two weeks and in a few days the news about this product turns all over the world through social network, blogs and forums. The Beer Gloss excited 14 million people on the web. On February 14th more than 15.000 beer glosses were offered in pubs, universities and stores.

Explain why the method of promotion was most relevant to the product or service
We launched the Beer gloss through a communication campaign (video on the web-press and outdoor, banner) with two objectives: 1) sale the product online, on the site ayswuvalentine.com; 2) distribute it in all the places where the target use to be(pubs, universities, restaurants) to give them an entertaining brand experience. In this way in a short period the Beer Gloss became for the guys the perfect gift for Valentine’s day.

Advertising Agency: JWT, Milan
Creative Director: Pietro Maestri, Bruno Bertelli, Cristiana Boccasini
Copywriter: Elisa Binda
Art Director: Vito La Brocca, Andrea Farina
Production Company: Les Enfants Creative Productions
Year: 2010
2 Bronze Lion

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ING Direct – BUS

Happy Clients bringing new clients. The idea comes straight from this insight: a number of human interactive billboards built around town to let real clients dialogue with potential clients passing by. No filters, no bank involved, just a real questions/real answers game between real people. We asked real clients to be the actors of our ad because, to say it the ING way: “Our clients ARE our best advertising”. The first human billboards. Normal people asking, real clients answering.

Advertising Agency: Leo Burnett, Milan
Executive Creative Director: Enrico Dorizza, Sergio Rodriguez
Copywriter: Santiago Saiegh
Art Director: Corrado Cardoni, Luca Zamboni
Production Company: Mercurio Cinematografica
Director: Giuseppe Capotondi
Year: 2010
Silver Lion

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ING Direct – The Human Billboard

Insights, Strategy & the Idea
ING Direct is a very popular web bank which changed the category’s business model. They pioneered a new way to handle relationship with their clients by providing an incredibly easy and user- friendly digital platform. A research discovered that ING source of business today more and more comes from their clients’ word-of-mouth. In other words, happy clients bringing new clients, most of them converting from traditional banks. This is where our idea comes from: a living number of interactive billboards where real clients could dialogue with potential clients passing.

Creative Execution
Around town some installations were set in order to become living point of contacts between people, with no bank involvement. Commercials were shot to amplify the word of mouth effect among existing and potential clients.

Results and Effectiveness
In a static environment ING managed to increase their clients base of a further 7%. Day after day, this number is increasing.

Advertising Agency: Leo Burnett, Milan
Executive Creative Director: Enrico Dorizza, Sergio Rodriguez
Copywriter: Santiago Saiegh
Art Director: Corrado Cardoni, Luca Zamboni
Year: 2010
Shortlist

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Rolling Stones Magazine – LIFE ‘N ROLL

Over the last year the Italian political class has been overwhelmed by sensational scandals. The mayors of leading cities, regional governors and the prime minister, Silvio Berlusconi, have been implicated in scandals involving sex, prostitution, drugs and sleaze. They have taken over the role which has always been played by rock’n’roll legends. With this film, Rolling Stone invites rockers to take back what is theirs by right.

Advertising Agency: D’Adda, Lorenzini, Vigorelli, BBDO
Creative Director: Stefsania Siani, Federico Pepe
Copywriter: Stefania Siani
Art Director: Federico Pepe
Production Company: DIAVIVA, Reggio Emilia
Director: Marco Gentile
Year: 2010
Silver Lion

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VDO (Rear View Cameras) – CAMPER/TRUCK/VAN

Advertising Agency: DDB, Milan
Executive Creative Director: Luca Albanese, Francesco Taddeucci
Art Directors: Diego Mendoza
Copywriters: Maria Chiara Alegi
Illustrator: Winkler/Noah

Year: 2010
Silver Lion for the Press campaign

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MUF (Comics National Museum) – THE FART/THE LOOK-OUT/THE STRIP POKER

Advertising Agency: JWT, Milan
Executive Creative Director: Pietro Maestri
Art Directors: Cristiana Boccassini, Flavio Mainoli
Copywriters: Bruno Bertelli, Paolo Cesano
Illustrator: Manlio Truscia

Year: 2010
Bronze Lion for Press campaign

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IKEA – EASYCHANGE

We are in a small open space flat. A young man welcomes his best friend and they spend a pleasant afternoon watching football on TV, listening to music, playing mime, building a miniature ship. Finally they fall asleep in front of a documentary. After a while the friend jolts awake. He says he will be back tomorrow and leaves. Only now we discover that the burlier friend is actually a prison guard and the open space flat is a wonderfully decorated prison cell. We only see it because it has a prison door with bars and a lock. “It’s easy to change with Ikea!”

Advertising Agency: 1861 United, Milan
Executive Creative Director: Pino Rozzi, Roberto Battaglia
Copywriter: Francesco Poletti
Art Director: Serena Di Bruno
Production Company: Akita, Milan
Director: Maroni Sune/Nic Osborne
Year: 2010
Shortlist

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MIBAC – PUDDLE/ESCALATOR

From the 16th to the 25th April 2010 the Ministry of Cultural Heritage and Activities promoted Culture Week, an exceptional nationwide event which opened the doors to all museums, archaeological sites, archives, libraries and public monuments to Italian and foreign citizens admission free. The video intends to play on the “free of charge” key concept, associating two images in a highly semantic and significant way: the first is ordinary and everyday-like, the second is characterized by an artwork of high prestige and artistic value. The close comparison of these two aims to emphasize how the opportunity of seeing these masterpieces is extremely precious and should not be missed.

Advertising Agency: Saatchi & Saatchi, Milan
Creative Directors: Agostino Toscana, Alessandro Orlandi
Deputy Creative Directors: Luca Lorenzini, Luca Pannese
Art Director: Luca Pannese
Copywriter: Luca Lorenzini

Year: 2010
Shortlist

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Rimmel – TRAIN/LIBRARY/AIRPORT

Advertising Agency: JWT, Milan
Executive Creative Director: Pietro Maestri, Bruno Bertelli, Cristiana Boccasini
Art Directors: Fabrizio Pozza
Copywriters: Francesco Muzzopappa

Year: 2010
Shortlist

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HEINEKEN – Cinema: Lady Violet’s Diaries

To remember our consumers that it’s always better going out with friends for a beer maintaining an easy going attitude than becoming adult and losing some sacred moment with friends, we trapped our consumers at the cinema, creating a singular event. Many beer drinkers were invited to the cinema for the opening of a new film: “Lady Violet’s Diary”. For the occasion we created a few minutes of a fake film based on a very long, romantic, paradoxical story. This film was showed at the cinema in one selected night. During the screening suddenly appeared the claim “Are you still with us?” to remember our consumer that fell in the traps that is always better stay with friend in an entertaining way. After that we offered to the audience the opportunity to watch an action movie (adapt for beer drinkers): G.I. Joe: The Rise of Cobra.

Advertising Agency: JWT, Milan
Creative Director: Pietro Maestri, Bruno Bertelli, Cristiana Boccasini
Copywriter: Cristiano Tonnarelli, Michele Picci
Art Director: Marco Viganò
Year: 2010
Shortlist

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Coca-Cola light – TRIBUTE TO FASHION

Insights, Strategy & the Idea
Whose revolutionary spring collection caused a sensation at Milan Fashion Week? It was Coca-Cola Light.
Our 32, cutting-edge outfits dazzled the women of Milan, and brought all the credibility of the world’s top designers to our brand – in the very home of global fashion. With new Coke products and other rivals on the market, we urgently needed to refresh Coca-Cola Light’s connection with the lifestyles of 25-plus women. The brand had dabbled in the fashion world before. After all, nothing is more important to our target audience. Each year, Coca-Cola Light asked a designer to create a sleeve for a run of collectible bottles. But this time, we channelled the spirit of Milan. This would be no traditional marketing campaign. This would be the launch of a fashion collection. And we would fuse high fashion and public art in a spectacle that had never before been tried.

Creative Execution
We persuaded eight of the world’s top designers to create four slinky sleeves each for our bottles, and we unveiled the collection at a red-carpet event attended by the designers and the world’s press. It was the first time Milan’s mayor had allowed the Palazzo Reale to be used for a private event.
We dressed woman-size bottles, and showed them on the catwalk. Sotheby’s auctioned them off for charity. Footage of the show was used in 3-minute clips on television. And we printed a catalogue in postcard form and inserted it in fashion magazines.
And then we turned the collection over to the public. We exhibited giant bottles in prominent locations in Milan. In the windows of major fashion stores. In 2,000 temporary stores of our own across the country. And, extending our extraordinary partnership, in the boutiques of our eight designers themselves.

Results and Effectiveness
1Mio contour bottles were sold during the Milan Fashion Week in the PoS activations, and over 50,000 full-body sleeves in one week at the customised corner at La Rinascente alone. Media covered the launch event with 70 articles in 1 month, with an estimated yield of 48,000,000 impressions. According to Millward Brown trackings, vs. pre-campaign readings, brand awareness and purchase intent were up +10%, while brand attributes ‘It’s a cool product’ and ‘Trend-setting’ gained 30%. Moreover, 100,000 € were collected during the auction in favour of the earthquake victims.

Advertising Agency: BCube, Milan
Executive Creative Director: Francesco Bozza
Copywriter: Fabio Andreini, Pietro Putti
Art Director: Daniele Pancetti
Year: 2010
Shortlist

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Legambiente – CALENDAR

Challenges and key objectives
Legambiente wanted to remind people about the urgency of environmental issues with a gift. It needed to be memorable and to drive more traffic to the Legambiente website for more information on how individuals and corporations can implement or participate in environmental programmes.
To celebrate its 30th anniversary, which fell at Christmas time, Legambiente (the most important Italian environmental association) draws attention to recycling and responsible consumption with a gift.

Idea
We thought about the most common (and least expensive) gift that people give away every end of the year all over the world. The answer was: a calendar. After that, the question came: is it possible to recycle a calendar? Of course: every 28 years.
So we collected a number of 1982 calendars and stamped them 2010.

Results
Approximately 500 calendars were sent out. The recipients indicated that they thought the calendar was clever, practical, and useful. The client received many requests for other calendars and so we created a special insert on January magazines with a 1982 calendar. A copy text asked to the people to remove it and hang it on their wall. Website hits increased by approximately 400% during the two months after the mailers were delivered. During a telephone survey, many corporations indicated that they would like more information how they could implement recycling programmes in their offices.

Advertising Agency: EURO RSCG, Milan
Executive Creative Director: Giovanni Porro
Creative Directors: Dario Villa, Erik Loi
Copywriter: Michele Picci
Art Director: Luca Ghilino
Year: 2010
Shortlist

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Durex Lubrificant – CLUB CRASHER

Advertising Agency: McCann Erickson, Milan
Executive Creative Director: Marco Cremona
Creative Director: Gaetano Del Pizzo
Copywriter: Marco Cremona
Art Director: Gaetano Del Pizzo
Year: 2011
Silver Lion

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Fitosonno Sleeping Tablets – TENNIS

Fitosonno is a natural product against sleep disorders, so it is not positioned as a classic sleeping pill (ie. a strong drug for chronic insomnia) but a natural aid for occasional sleep problems. One of the main causes of insomnia for those who don’t suffer from it acutely is incapacity to put day-to-day problems out of mind and relax. The product’s promise (“you can’t eliminate your problems but you can sleep well with them”) plays on the above mentioned insight and offers not only sleep but also peace of mind. This ad is being scheduled almost exclusively at night, to address a target that watches TV because they can’t get to sleep.

Advertising Agency: JWT, Milan
Executive Creative Director: Pietro Maestri
Copywriter: Paolo Cesano, Bruno Bertelli
Art Director: Flavio Mainoli, Cristiana Boccasini
Production Company: DIAVIVA, Reggio Emilia
Director: Veronica Mengoli
Year: 2011
Bronze Lion

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Walt Disney Pictures – BIG ALICE

Advertising Agency: AUGE Headquarter, Milan
Executive Creative Director: Federica Ariagno, Giorgio Natale
Copywriter: Niccolò Bossi, Anita Rocca
Art Director: Davide Mosconi
Year: 2011
Bronze Lion

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Poste Italiane – BECAUSE I LIKE YOU

“Because I like you” is the story of Giovannino, a child who writes a love letter to his girlfriend. The voiceover of the child reading the letter plays and contrasts with the images. Giovannino’s voice tells us the child’s way of seeing love, enthusiastic and with no limits. The images show the life of an old postman, who despite his age keeps loving his wife with everyday care and attentions. The film ends with the image of the child’s letter, framed and lying on the old lady’s bedside table. We realize the child and the old postman are the same person. The falling in love has with time become true love.

Advertising Agency: CRIC, Milan
Creative Director: Clemente Di Muro, Davide Mardegan, Niccolò Dal Carso
Copywriter: Clemente Di Muro
Art Director: Davide Mardegan
Production Company: H-Film, Milan
Director: CRIC
Year: 2011
Bronze Lion

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Diesel – STUPID GLOCAL CAMPAIGN

Insights, Strategy & the Idea
BE STUPID adv campaign was planned all over the world, even in Italy. This is a copy-oriented campaign and, most of all, is in English. In Italy, only 20% of the population can speak English properly. The translation of the headlines in Italian wasn’t so cool…
In such a Global Era like this, Italian dialects sound great. So we decided to make the global Diesel campaign a global campaign.

Creative Execution
STUPID is a Latin word: in Italian it is STUPIDO, but most of Italian dialects pronounce it “STUPID” (sometimes “stϋpid”, sometimes “stupt” but the sound is quite the same). Then we played with the regional stereotype to define “the Smart”, that became “the Professor”, “the Doctor” and “the Pedantic”. We created titles which played with local common-sayings and cultural background. Each Italian city had its dialect posters.

Results
Lots of national and local newspapers, blogs and web-sites talked about the campaign. Some Major got angry…but web traffic (website and Facebook page) increased by 200% with 600,000 visits to the sites. People felt a big affection and pride for a campaign that spoke their own language.
The store traffic of the cities involved in the media planning increased by as much as 28% in the weeks following the campaign.

Advertising Agency: BCube, Milan
Executive Creative Director: Francesco Bozza
Associate Creative Director: Alessandro Sabini
Copywriter: Alessandro Sabini, Andrea Bomentre, Federico Bonenti
Art Director: Marco Cantalamessa, Andrea Marzagalli
Year: 2011
Shortlist

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CCSVI Multiple Sclerosis Charity – THE DISEASE JOURNEY

Brief
The campaign was born with the objective to make everyone know the new recent discovery made by the Italian doctor Paolo Zamboni about Multiple Sclerosis. We needed to make people experience the odyssey of the multiple sclerosis, letting them know that a revolutionary solution has been found. The NGO that committed this campaign wanted to address it to both to existing customers and to the new ones, engaging a direct relationship with them.

Creative Solution
Using the urls, we tell the forced itinerary of a patient through each failed attempt, from country to country, searching for a cure. We bought a domain for each line of the story, focusing the user’s attention on the url’s text. Using hypertextual links, we led the user to live this story, from site to site, getting to know the opportunity to improve Multiple Sclerosis symptoms. In the last url, the user can support the fundraising campaign and share it. An absolutely new experience in the cyber world of social communication, able to raise awareness through media less suited for scientific
information.

This is not a famous brand and we needed a simple and very incisive idea, able to emotionally involve every user and above all, able to communicate the feeling of a multiple sclerosis patient. Having no budget, we also needed a very low cost solution, strong enough to generate word of mouth. The originality is in the idea we found: we decided to use the URL filed. This allowed us to spend just 400 euros: the price of 30 domains websites. We promoted it on the social network, with the support of medicines, patients and supporters of the NGO. To all contacts of the “CCSVI in Sclerosis Multiple” Association, were sent an email that included a synopsis of the whole project and the link to the first URL. All were asked to share it with others.

Advertising Agency: Lowe Pirella Fronzoni, Rome
Executive Creative Director: Francesco Taddeucci, Luca Albanese, Laura Sordi
Copywriter: Marco Diotallevi
Art Director: Angelo Marino
Year: 2011
Shortlist

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First Floor Under Exhibition – PIRACY POSTER

Brief
Promote First Floor Under, a new born pop-vangarde culture magazine about design, photography, art direction, that also features a streaming radio.
Prove to all creative world that First Floor Under differs from every other blog by being socially relevant and taking action in real life. Usually blog publish ideas of other people, First Floor Under produces its own content.

Describe how you arrived at the final design
To introduce First Floor Under to the public, we designed an event, a real art exhibit, that other blogs have published, promoting directly our Blog.

Results
Locally people tagged themselves and tweeted about the exhibit, meanwhile the most popular ad and design blogs published and promoted our blog: First Floor Under.

Advertising Agency: TBWA/Italia
Executive Creative Director: Francesco Guerrera, Nicola Lampugnani
Copywriter: Mirco Pagano
Art Director: Moreno De Turco
Year: 2011
Shortlist


Leo Burnett India for Maneland Jungle Lodge – Wild Creativity

Receptionist/Waiter/Welcome (2006)

What Kaushik Mitra, (copywriter at Leo Burnett, Mumbai) has to say about “Receptionist” and “Waiter”

To start off with, I think it’s important to understand that over 50% of the population in India is below 25 years of age and when they seek a holiday, they’re seeking either complete inactivity and laziness, or they’re seeking adventure and fun. Now the Maneland Jungle Lodge is a resort right at the edge of Gir Forest, an area famous for its lion population in Gujarat. And an area that’s certainly not meant to attract the break-from-work-by-lazing holiday seeker. For us within the agency, it meant an opportunity to create something adventurous and bold, and that’s precisely how I remember my art partner, Harshad descibing the brief. Maneland had never advertised before in a big way, and it was our turn to pounce upon an opportunity to create a big, wide splash in the marketplace for holidays and tours in India.

“Mutilated lodge staff” was the first thought that emerged in the brainstorm to follow. While I admit it was I who was guilty of coming up with the idea first, it couldn’t have been possible without Harshad and the rest of the team saying what they did. Soon after, our brainstorm got interrupted because there was another urgent brief we had to do immediate justice to, and while presenting the idea to the rest of the creative directors within the agency, we realised that that was the only idea we were left with.

But luckily for us, Pops (or KV Sridhar, as our National Creative Director is otherwise known), Agnello Dias (the Executive Creative Director) and Santosh Padhi (National Art Head), all fell in love with the idea. And saw to it that it was executed perfectly and released in good time, before the holidays began. Luckily the client also had a sense of humour and loved what we created. Of course, we had no idea then that a resort meant to show off the last lions in India would get us one!

Creative Director: K.v Sridhar/Santosh Padhi/Agnello Dias
Copywriter: Agnello Dias/Kaushik Mitra
Art Director: Santosh Padhi
Photographer: Shekhar Phalke
Bronze Lion for the Campaign

Waiter/Cook/Reception (2007)

Creative Director: K.v Sridhar/Santosh Padhi
Copywriter: Santosh Padhi
Art Director: Santosh Padhi
Photographer: Shekhar Phalke
Shortlist

Cavemen Search (2007)

The brief
The insight here is that nowadays you hardly get the ‘Jungle’ jungle i.e. the authentic, untouched jungle. It is very difficult to gain this experience first-hand due to thie fast moving world we live in. The objective was to present Maneland Jungle Lodge as a truly exotic and never before seen jungle experience.

The concept
Everybody would love to stay in one such place as, they are too tired of the monotony of this concrete world, To help people gain this experience Maneland jungle lodge is located in the interiors of the jungles of Gir forest in Gujarat, a state of India and demanded the creative to convey the same.
We decided to use models dressed as cavemen, going around shopping malls & travel agents offices with their business cards. The campaign had to be executed in a manner to make the best out of the small budget and create a buzz.

Results
The month following the campaign, traffic to maneland.com website went up by 300% and bookings were up 40%

Creative Director: K.v Sridhar/Santosh Padhi
Copywriter: Santosh Padhi
Art Director: Santosh Padhi
Photographer: Shekhar Phalke

Welcome Drink/Lost & Found/Regular Visitor (2007)

Creative Director: K.V. Sridhar
Copywriter: K.B. Vinod
Art Director: B. Ranmathker
Photographer: Vinay Mahidhar

Check in Form (2007)

Creative Director: K.V. Sridhar
Copywriter: K.B. Vinod
Art Director: B. Ranmathker

Period/Gay (2008)

Headline: One Week Honeymoon Package. How Will Your Story Unfold?

Creative Director: K.v Sridhar/Santosh Padhi
Copywriter: Santosh Padhi/Russell Barrett
Art Director: Santosh Padhi


Canadian Tire – Christmas Spirit Tree (the first Christmas tree powered by Christmas Spirit)


Canadian Tire is lighting up the holiday season and spreading Christmas cheer across the country with the launch of its state-of-the-art, 30-foot Christmas Spirit Tree. The tree, unveiled today at Toronto’s Union Station, has 3,000 LED lights that are powered by messages of positive Christmas spirit on social media channels including Facebook, Twitter and posts to ChristmasSpiritTree.ca

“At this time of the year, everyone’s talking about holiday spirit. We wanted to show it,” says Rob Shields, Senior Vice President, Marketing, Canadian Tire. “Canadian Tire is thrilled to see the Christmas Spirit Tree come to life and celebrate the joy of the holiday season with all Canadians.”

According to a recent survey* commissioned by Canadian Tire, 37 per cent of Canadians won’t mail cards this year, but rather will use online channels. In fact, 28 per cent said they share their Christmas spirit by posting messages on social networks; 16 per cent send e-cards and 8 per cent use Skype or iChat. The research conducted by Canadian Tire also found that in 2010 more than 1.6 million social media messages were posted about the Christmas season inCanada.

The Christmas Spirit Tree will capture all real-time blog posts, tweets, public Facebook messages and other online content containing specific Christmas keywords and transform them into data that is then visualized via the lights on the tree. Canadians may also text message “Christmas” to 70734 to affect the lights on the tree.

The brightness and colour of the lights will vary depending on the source of the messages. For example, posts from Twitter and other social media are represented as white lights on the tree, whereas messages from ChristmasSpiritTree.ca or text messages are visualized as a spiral of blue lights moving up the tree accompanied by flashing strobe lights all over. And, the brightness of the lights represents the total number of per-minute messages being shared across the country, so at times when online sharing is at its highest, the tree will shine at its brightest.

Canadian Tire’s Christmas survey also provides a glimpse into Canadians’ feelings about the festive season and their own Christmas spirit:

  • Putting up the Christmas tree (93%), holiday shopping (92%) and attending children’s holiday pageants (86%) are the activities that most spark their Christmas Spirit
  • 27 per cent feel that Santa Claus most represents their Christmas spirit because he’s a jolly gift-giver
  • 18 per cent most relate to Santa’s elves because they are busy finishing last-minute Christmas errands
  • 50 per cent claim that they can name every reindeer that pulls Santa’s sleigh
  • The majority (84%) of Canadians unwrap gifts with their families on Christmas Day with only 44 per cent reporting they do it on Christmas Eve

The Christmas Spirit Tree will be on display at Toronto Union Station from December 12-26 from 6:00 a.m. tomidnight EST daily and can be viewed via live stream at ChristmasSpiritTree.ca and on screens at Yonge-Dundas Square. Media are welcome to film and photograph the tree. Daily Spirit Tree metrics and statistics, including provincial breakdowns, are available on request.

Advertising Agency: Tribal DDB, Toronto
Creative Director: LP Tremblay
Associate Creative Director / Art Director: Mara Binudin
Associate Creative Director / Copywriter: Ryan Lawrence
Year: 2011


How to make a Christmas Tree

How to make a Christmas Tree using a pencil

How to make a Christmas Tree using a jeans

How to make a Christmas Tree using some bottle of beer

How to make a Christmas Tree using a blood transfusion bag

How to make a Christmas Tree using Christmas gift

How to make a Christmas Tree using a beach umbrella

How to make a Christmas Tree using a landing strip

How to make a Christmas Tree using a pizza

How to make a Christmas Tree using a Pantone chromatic scale

How to make a Christmas Tree using a computer arrow

How to make a Christmas Tree using a parking

How to make a Christmas Tree using Fedex shipping box

How to make a Christmas Tree using the igniton key

How to make a Christmas Tree using a destination map

How to make a Christmas Tree using a bunch of grapes

How to make a Christmas Tree using a Mercedes

How to make a Christmas Tree using a wall

How to make a Christmas Tree using clotheshangers

How to make a Christmas Tree using price labels

How to make a Christmas Tree using  french fries

How to make a Christmas Tree using the road

How to make a Christmas Tree using a hairbrush

How to make a Christmas Tree using a dog shit

How to make a Christmas Tree using a sexy lingerie

How to make a Christmas Tree using Adidas shoes

How to make a Christmas Tree using mascara

How to make a Christmas Tree using a book

How to make a Christmas Tree using a cactus

How to make a Christmas Tree using a corkscrew

How to make a Christmas Tree using the recycle symbol

How to make a Christmas Tree using a plectrum

How to make a Christmas Tree using a Rorschach test

How to make a Christmas Tree using a pencil sharpener

How to make a Christmas Tree using a palm

How to make a Christmas Tree using a snow tyre


Coca-Cola – I’d Like to Buy the World a Coke (the story of Hilltop)


In 1969, The Coca-Cola Company and its advertising agency, McCann-Erickson, ended their popular “Things Go Better With Coke” campaign, replacing it with a campaign that centered on the slogan “It’s the Real Thing.” Beginning with a hit song, the new campaign featured what proved to be one of the most popular ads ever created.

The story behind the song
The song “I’d Like to Buy The World a Coke” had its origins on January 18, 1971, in a fog. Bill Backer, the creative director on the Coca-Cola account for McCann-Erickson, was traveling to London to join two other songwriters, Billy Davis and Roger Cook, to write and arrange several radio commercials for The Coca-Cola Company that would be recorded by the popular singing group the New Seekers. As the plane approached Great Britain, heavy fog at London’s Heathrow Airport forced it to land instead at Shannon Airport, Ireland. The irate passengers were obliged to share rooms at the one hotel available in Shannon or to sleep at the airport. Tensions and tempers ran high.

The next morning, as the passengers gathered in the airport coffee shop awaiting clearance to fly, Backer noticed that several who had been among the most irate were now laughing and sharing stories over bottles of Coke. As Backer himself recalled in his book The Care and Feeding of Ideas:

In that moment . . . began to see a bottle of Coca-Cola as more than a drink. . . . began to see the familiar words, “Let’s have a Coke,” as . . . actually a subtle way of saying, “Let’s keep each other company for a little while.” And  knew they were being said all over the world as sat there in Ireland. So that was the basic idea: to see Coke not as it was originally designed to be—a liquid refresher—but as a tiny bit of commonality between all peoples, a universally liked formula that would help to keep them company for a few minutes.

Backer’s flight never did reach London. Heathrow Airport was still fogged in, so the passengers were redirected to Liverpool and bussed to London, arriving around midnight. At his hotel, Backer immediately met with Billy Davis and Roger Cook, finding that they had completed one song and were working on a second as they prepared to meet the New Seekers’ musical arranger the next day. Backer told them he thought they should work through the night on an idea he had had: “I could see and hear a song that treated the whole world as if it were a person—a person the singer would like to help and get to know. I’m not sure how the lyric should start, but I know the last line.” With that he pulled out the paper napkin on which he had scribbled the line, “I’d like to buy the world a Coke and keep it company.”

The three members of the writing team that night each brought a different perspective to their task. Billy Davis, of McCann-Erickson, had toured as a member of the singing group the Four Tops and had written several songs for the powerful and popular Motown music production organization. Roger Cook, a native of Bristol, England, had teamed with Roger Greenaway to write several 1960s pop standards including “You’ve Got Your Troubles” and “Long Cool Woman (In a Black Dress).” Bill Backer was from Charleston, South Carolina, and had written the jingle “Things Go Better with Coke” as well as the jingle for “The Real Thing” campaign.

Appropriately, then, each contributed something different to the song they wrote together that night. Davis provided the core idea for the opening line, that everyone needs a home. Backer gave it the same pattern as the line he’d written, so that it became “I’d like to build the world a home.” And perhaps because this was, after all, the late 1960s, the three decided that the home should be furnished “with love.” Cook might have drawn on British folksong imagery when he contributed the line “Grow apple trees and honey bees, and snow white turtle doves,” which Backer and Davis at first thought too grand but eventually accepted for its poetic quality. Next, Backer penned a variation of the opening line: “I’d like to teach the world to sing in perfect harmony.” Coming full circle, the last line expressed the song’s original idea: “I’d like to buy the world a Coke and keep it company.”

The melody was based on a Roger Cook-Roger Greenaway song that Cook and Davis reworked to incorporate the melody used for the campaign slogan “It’s the Real Thing.” This allowed them to weave the updated slogan “It’s the real thing, Coke is what the world wants today” into the new song’s harmonizing voice parts. This was the result:

I’d like to buy the world a home and furnish it with love,

Grow apple trees and honey bees, and snow white turtle doves.

I’d like to teach the world to sing in perfect harmony,

I’d like to buy the world a Coke and keep it company.

It’s the real thing, Coke is what the world wants today.

The next day, Backer, Cook, and Davis presented the lyrics and melody they had created during their all-night brainstorming session to David Mackay, the arranger for the New Seekers, with instructions to make his arrangement warm and appealing but not too cute. It was immediately decided that the ad should begin with New Seekers vocalist Eve Graham in order to have a woman initiate the message. And after trying out several versions in which the New Seekers attempted to sing the song as a typical advertising jingle, Backer and Davis convinced them to relax and use their own folk/pop style instead. Several weeks later, on February 12, 1971, “I’d Like to Buy the World a Coke” was shipped to radio stations throughout the United States.

It promptly flopped. The Coca-Cola bottlers hated the ad and most refused to buy airtime for it. The few times the ad was played, the public paid no attention. Bill Backer’s idea that Coke connected people appeared to be dead.

Backer persuaded McCann to convince Coca-Cola executives that the ad was still viable but needed a visual dimension. His approach succeeded: the company eventually approved more than $250,000 for filming, at the time one of the largest budgets ever devoted to a television commercial. Backer then spent weeks canvassing the McCann creative staff for ideas, until Harvey Gabor, a young art director, proposed that the song be treated for television as a “First United Chorus of the World.” He envisioned a group of young people from all nations, in clothing representing their nationalities, singing the song on a green hillside. Gabor’s idea prevailed, and McCann prepared to shoot the commercial.

Producing the ad, however, proved to be one of the most challenging projects in the agency’s history. What kept the project alive was belief in the strength of the ad’s basic message, that Coca-Cola is a bond connecting people to one another.

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The Shooting
Because London had been the song’s starting point, the ad’s creators decided that the “green hill” of its setting should be the storied cliffs of Dover on England’s southern coast. By March, 1971, a McCann production crew including Billy Davis, Harvey Gabor, and agency producer Phil Messina traveled with photographer/director Haskell Wexler to England to begin work. The chorus, they decided, would consist of several thousand British school children and would feature sixty-five principals who would be seen at close range. The children were cast and rehearsed “lip synching” moving their lips silently as though they were singing—to the New Seekers rendition of the song. Filming was set to begin on April 8, but three days of continuous rain, with more forecast, forced postponements. The McCann staff decided to move the shoot to Rome, which promised a more favorable climate.

In Italy, the producers had to cast a new group of children by searching schools and youth hostels. One English singer, the “head girl,” was brought to Italy to reprise her role. Production was to begin at 7:30 on the appointed morning with close-up shots of the sixty-five new principal singers in the flattering morning light. Unfortunately, it rained that morning for the first time in weeks. When the rain cleared in the afternoon, the leads were filmed singing the song while the “extra” children waited. Finally, late in the day, some twelve hundred children were spaced out on the top of the hill for the climactic shot from a helicopter. With light fading after only a few takes, the children broke ranks and began running down the hill to get more Coke from the truck carrying the props.

When the film was developed there were some unpleasant surprises. The zoom lens used for the close shots was faulty: every frame was out of focus. Additionally, the light levels on the helicopter shots were too low. The lead female singer then informed the crew that she had just been married and was going on her honeymoon and would be unavailable for any additional filming. McCann had now used its entire budget waiting for the rain to end in England and generating unusable footage in Rome.

To keep the ad alive, the McCann production crew went back to the drawing board. They cut the number of children in the youth chorus from twelve hundred to five hundred and began the search for a new female lead. They filled the ranks of the chorus by contacting the foreign embassies in Rome and drawing from their residents. As principals, they selected some forty young people between the ages of fifteen and nineteen. And when they spotted Linda Neary, a British governess living in Rome, walking down the street pushing a baby carriage, they decided she looked perfect for the part of the female lead. Two days before shooting was scheduled to begin, Neary agreed to take the part and the cast was set.

A new local film company, Roma Films, was contracted to film the commercial. Billy Davis rehearsed the young people lip synching to the New Seekers’ recording, and filming began on a different hillside the following day. Roma Films changed the strategy that had been used for the earlier shooting, filming the larger group shots first as Davis conducted the chorus. The aerial views showing the entire group from the vantage point of a helicopter were filmed next, while the tight close-ups were actually filmed at a racetrack near Rome.

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The Commercial
The television ad “I’d Like to Buy the World a Coke” was released first in Europe, where it garnered only a tepid response. It was then released in the U.S. in July, 1971, and the response was immediate and dramatic. By November of that year, Coca-Cola and its bottlers had received more than a hundred thousand letters about the ad. At that time the demand for the song was so great that many people were calling radio stations and asking them to play the commercial. Clearly, “I’d Like to Buy the World a Coke” had struck a chord deeper than the normal response to the advertisement of a commercial product, and Billy Davis asked Bill Backer to rewrite the lyrics without the references to Coke.

Because the New Seekers were initially unavailable to record the new version, a group calling itself the Hillside Singers recorded it with a country-and-western flavor and released it as a single. When the New Seekers began an American tour several weeks latter, they re-recorded the new lyrics and released a second single. Both version sold well in fact, at one point, the New Seekers version was listed among the top ten songs on the American pop music charts while the Hillside Singers version was number thirteen. Such successes were repeated around the world as the ad’s popularity expanded. Recordings of the song and versions of the sheet music appeared in a variety of languages to fill an ever-increasing demand.

“I’d Like to Buy the World a Coke” has had a lasting connection with the viewing public. Advertising surveys consistently identify it as one of the best commercials of all time, and the sheet music continues to sell more than thirty years after the song was written. Such is the power of television advertising that through the enduring popularity of this ad, at least, Coke has borne out something of Backer’s ambitious claims for it, becoming a common connection among people.

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Behind the scenes

– Hilltop” is the first historical ad ever to be restored in High Definition (HD). It can still be viewed by the public as it was donated to the Library of Congress in Washington DC in 2000.

– The international cast included actors from more than 20 countries.

– The opening scene was shot at a horse racetrack outside of Rome forcing unusual camera angles during the opening scene as the director tried to avoid having telephone wires in the background of the shots; the rest of the commercial was shot on the hilltop.

– Within 10 days of the U.S. release of “Hilltop,” The Coca-Cola Company received 10,000 letters from consumers thanking the Company for the message in the ad. Consumers also called television stations asking when the commercial was scheduled to air.

– The song “I’d Like to Buy the World a Coke” was written in less than 24 hours.

– The cast did not actualy sing “I’d Like to Buy the World a Coke,” but rather lip-synced to a New Seekers recording

Interview with Bill Backer
Interview conducted with Bill Backer about his role in creating the famous Coca-Cola ad, “I’d Like to Buy the World a Coke.” Backer co-composed the ad with Billy Davis, Roger Greenaway and Roger Cook in January 1971. Backer was the creative director for McCann Erickson when the ad was made. The Coca-Cola Archives interviewed Backer in 2007.

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The Christmas Version
In the mid-1970s, another version of the commercial was filmed for the holiday season. This reworking featured the same song, but showed the group at night, with each person holding a lit white candle. In the final zoom-out crane shot, only the candle flames remain visible, forming a triangle reminiscent of a Christmas Tree; this impression is cemented by a Coke-bottle logo superimposed at the top of the “tree”, and the words “Happy Holidays from your Coca-Cola bottler”below. This version was reused for many years during the holiday season.

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The Hilltop Reunion
In 1990, a follow-up to this commercial, called “Hilltop Reunion”, aired during coverage of Super Bowl XXIV. It featured the original singers (now adults) and their children, and culminated in a medley of this song and the then-current “Can’t Beat the Real Thing” jingle.

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NASCAR Sprint Cup
In 2010, Coca-Cola once again used the song in a television commercial featuring the entire line of its sponsored NASCAR Sprint Cup drivers. The commercial included the drivers singing the song while driving in a race. The following year, information on how many dollars it would take “to buy the world a Coke” was given in a commercial featuring the red silhouette of a Coke bottle and the melody of the song.

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Cover
British band Oasis were sued after their recording “Shakermaker” borrowed its melody and some lyrics directly; they were forced to change their composition. Oasis tribute band NoWaySis released a cover of  “I’d Like To Teach The World To Sing”, entering the British charts at No.27 in 1996.


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In 2007, Campaign magazine called it “one of the best-loved and most influential ads in TV history” It served as a milestone—the first instance of the recording industry’s involvement with advertising.Marketing analysts have noted Coca-Cola’s strategy of marrying the idea of happiness and universal love of the product illustrated by the song.

Advertising Agency: McCann-Erickson, USA
Creative Director: Bill Backer
Art Director: Harvey Gabor
Director: Roberto Malenotti
Agency Producer: Phil Messina
Music: Billy Davis, Roger Cook, Roger Greenaway, Bill Backer


Merry Christmas from your Advertising Agency

Merry Christmas from Lowe Brussels: THE SMALLEST WISH CARD IN THE WORLD (2008) 

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Merry Christmas from Wieden+Kennedy, Amsterdam: VIRTUAL HOLIDAY DINNER (2010)

The brief was to make a Christmas card on behalf of WIEDEN+KENNEDY AMSTERDAM – something that we could give to clients, family, friends and even strangers. We realized what people want most around the holidays, more than any trinket or card, is to simply be together. No distance should keep loved ones apart. And so we decided to create a virtual holiday dinner, using the Internet to create a new type of Christmas greeting and blowing the traditional Christmas card out of the water.
This Christmas message was especially relevant in our office, which is 75% expatriate – there are 130 people from 20 different countries. Nothing could have been more meaningful to our people than enabling them to connect with people far away.

The rustling faux fireplace, festive holiday table and well-dressed mannequins set the scene.
Mannequins were fitted with screens as faces and connected to Skype so people could simply call in and with the help of their webcam, appear on the face of one of the dolls at the table. The cameras on their foreheads let the people at home have a real-time view of the space and everyone at the table. To make this dinner as realistic as virtually possible, we partnered with a robotics specialist to build a unique facial tracking software. Users could move their mannequin’s head by simply moving their face from side to side. Thus, diners could turn and focus on each person.
We packaged the invitation and booking system onto a website and spread the news via Facebook, Twitter and email.

At the end of the three days there were 16,000+ twitter mentions and 3,800 Facebook likes. Most importantly, 156 people, from 6 continents had gathered together for a holiday dinner. There were romantic dates, cross-continental family reunions and even first time meetings.
Voted 2010’s Best Agency Holiday Cards by Adweek.
Adverblo called it, “A lovely Christmas gift from W+K Amsterdam.”
Fast Company said, “The dinner was an undeniable success.”
“WIEDEN+KENNEDY AMSTERDAM make it possible to sit down with faraway family and friends for a virtual holiday dinner.” 
creativity-online
“Now, I really have to dinner with my family!” 
Brandsplat Report

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Merry Christmas from Tequila/TBWA Auckland: SNOWMAN (2006)

The brief: create the annual Christmas card for New Zealand agencies Whybin\TBWA & TEQUILA\ to send to clients, suppliers and business partners.
Disrupt Christmas conventions (ie: send a card). Stand out from the ho ho ho hum. We sent out a plastic bag containing water, a pipe, a carrot and two round black stones. The attached message was simply: “Warmest Christmas wishes from Whybin\TBWA & TEQUILA\”.

The Christmas mailer exceeded all expectations and snowballed into a huge promotional piece for the agency. Recipients loved it (whether they got it instantly or had someone busting to explain it to them). More than that, they started talking about it and testing it on their friends. Before long, it was being picked up and discussed on radio stations and profiled in the national newspapers. Generating thousands of dollars worth of free publicity for the agency – and an unexpected ROI of over 1100% on agency costs.

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Merry Christmas from Mother London: GIVING IS GLORIOUS (2010)

Brief and target audience: To show existing and new clients, as well as creatives in the industry, that Mother London is one of the the leading creative agencies. Strategy: Millions of electronic Christmas greeting cards are sent around nowadays. It’s considered by many as something that clutters your inbox rather than something to appreciate. We turned this on its head by creating one email that appears to be just another piece of junk mail but was in fact one of the most important emails that you received all year.
We gave a corporate Christmas gift/card in a unexpected way, the first honest spam, which strengthened the brand as a inventive creative leader. A gift that was entertaining for both existing and new clients as well as creatives in the industry.
We decided to spend our whole budget on a christmas gift to one person.
A spam e-mail offering $10 000 for the first one to reply, was sent out to hundreds of clients and partners. Only one guy replied and we gave him a visit. We filmed the experiment and sent another email to all the people who got the spam. We explained ‘On the 10th of December we offered you $10 000, but you didn’t reply’. Attached was the link to the film. Both our clients,as well as everybody else, could enjoy the film as it spread online.
A quater of a million views on YouTube in a couple of days. 5th most viewed clip in the UK on YouTube (that month). It also reached a number three on the subjects ‘most Twittered about’ during the first days.

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Merry Christmas from Brey Leino Bristol: CHRISTMAS CARD (2006)

“This year, instead of Christmas cards we’re donating money to the NoMore Landmines Trust. Best wishes from all of us at Bray Leino Bristol.”

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Merry Christmas from Shackleton, Madrid: XMAS REVISITED (2007)

We used the excuse of the Christmas Seasons Greeting for an action to demonstrate in the most practical way the creative capacity of the agency.
Objectives:
• Seasons Greetings: Send our clients and prospects our Christmas and New Year wishes
• Display the creative capacity of the agency
• Anchor the image of “creative and integrated agency” in our clients and prospects.
The solution: an exercise full of humor and irony, playing on what is generally the daily relation between “client-agency” in relation to the IDEAS.
We wrote a book following the structure of a “meeting report” where we address, consecutively the surrealistic propositions and comments from both the client and the agency on different aspects of Christmas, such as:
The characters (Father Chrismas/St.Klaus, etc…
The customs (grapes, roscón: kings’ cake, etc…
The location (urban rules in Bethlehem, etc…)
The ambient (climate changes, etc…)
The company’s Christmas present.
Results:
• 531 emails of Thank you and cards (67% SPONTANEOUS answer)
• We got 26 agency presentations when the expected standard would have been less than half.

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Merry Christmas from Young & Rubicam Brands, Milan: GREEN CHRISTMAS (2011)

Christmas greetings card that challenges the receiver to save energy. Recipients were delighted by receiving a typical greeting card that to address a very important theme uses irony.

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Merry Christmas from Grey Mexico: TEDDY BEAR (2005)

Brief: send an original and emotional Christmas card to all Grey Global Group clients that communicates the spirit of the holidays.
We decided not to send a regular Christmas card, but a 3D mailing. A box containing a teddy bear with instructions of what to do with it. It must be given to a street child, and the smile that it generated was Grey’s present to our clients. 
Most of our clients returned the coupon which translated into a donation to an orphanage. We received lots of emails and letters congratulating Grey for such an original and emotional Christmas mailing. All of them gave the teddy bear away.

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Merry Christmas from Happiness Brussels: GIFT A STRANGER (2011)

The typical yearly agency brief: create an agency Christmas Card.
As Christmas is a traditional period of gift giving, we at Happiness Brussels wanted to push that giving spirit of Christmas just a little further…
We created Gift a Stranger: a website that allowed people to send a gift to a random person somewhere in the world, and spread a little bit of happiness
The site automatically found a random address somewhere in the world. People could then print out this address, and send their gift to this unknown person. Their gift appeared on the map, with all other gifts from people all over the world.
Results and Effectiveness:
–       More than 700 gifts sent during Christmas
–       75.000 unique clicks on the website
–       Gift a Stranger was featured on leading blogs
–       More than 6.000 impressions on Twitter, Facebook & Tumblr

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Merry Christmas from H57, Milan: RE-PACK PROJECT (2011)

H-57 loves and respects the environment. For this reason, during Christmas, we decided to launch an initiative that would promote our agency and be useful at the same time. We have therefore implemented a very simple idea, but in our opinion very effective to make people understand the importance of reusing old boxes/ envelopes/packagings even after the Christmas holidays, to produce an awareness on environment issues (even with a small action), to protect and save a lot of trees!
The challenge was to promote our agency doing a good deed. We started thinking to a very simple creative idea with low production costs. Moreover, it would have been perfect if we could find something that would help to “educate”our clients to respect the environment/nature.
The idea came one day while we were at work in the agency. There were some boxes and we tried to close one of them inside out then we had the idea to reuse all the boxes that we had here in office. We personalized the boxes with a red sticker to make the idea understandable, elegant and cool without being cheap. Our concept has been published on many blogs and our customers liked and appreciated our funny promotional operation too.

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Merry Christmas from Grabarz & Partner Hamburg: RECYCLED CHRISTMAS CARD (201o)

The task was to design a Christmas greetings card for clients and business partners of the advertising agency Grabarz&Partner with the advice that money would be donated to a charity in their name. The aim was to generate affinity for Grabarz&Partner.
Presentation boards of Grabarz&Partner campaigns that had been rejected internally were cut up into postcard-size pieces and dispatched with Christmas greetings. Grabarz&Partner received many positive reactions from clients and business partner.

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Merry Christmas from Vitruvio Leo Burnett, Madrid: THE GIFT IS US (2009)

The main goal was to say Merry Christmas to other agencies in a special way. We wanted to give an honest gift, inspired by generosity and love, that reoresented the values of Christmas. We wanted to present them with a gift that would be hard to forget, something that would leave the best impression of our agency on the advertising industry.

Each creative went with a special kit, which included: one numbered laptop bag, two t-shirts (one for each day), 1 pendrive with the goodbye email and some goodbye sweets. They worked with new accounts and new bosses. The decision about which creative had to go to each agency was made studying the profile of each creative, in order to really help the agency with their capabilities, all of our creatives went to their designed agency with the intention of helping out and doing the best possible job. It was the only way to approach the main goal of the campaign.
The experience was greater than we could imagine:
– A pitch won.
– A print campaign published.
– 3 webfilms created.
– More than 90% of our ideas were presented to clients.
– And the most important thing, according to our objectives: more than 500 new friends were acquired.
The best thing we could do to leave a good impresion on the agencies was to do something valuable for them, something they would remember us by. We offered them our time and our work to help them to go forward with their own projects. Is there a better gift for an agency than that?

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Merry Christmas from Ruf Lanz, Zurich: RUF LANZ CHRISTMAS MAILING (2009)

Over the Christmas season, customers receive many greeting cards and mailings. Most are placed straight in the wastebasket. The challenge was to create a distinctive mailing that would get the agency noticed both in its idea and execution – and one that customers would not forget for a long time.
Each year at Christmas, the Ruf Lanz advertising agency sends their customers a surprise. With 2008 having been such an economically difficult year, this Christmas they wanted to make it a special surprise.
During the Christmas period, many people like to light candles. That’s why the heads of the four members of the creative board were reproduced as candles. A mould of each of the four heads was elaborately hand-carved in wood. They were used to pour 150 sets of candles – and then hand-painted by the French artist Martine Siragusa. The candles were sent in a wooden presentation box.
The customers responded enthusiastically to the quality mailing. Many put the candles in their offices– and lit them. Some even took them home and decorated their Christmas tree with them. The mailing was also sent to potential customers: one subsequently brought his advertising budget to Ruf Lanz.

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Merry Christmas from Nitro, London: UNSUBSERVIENT SANTA (2008)

Nitro’s alternative Christmas card comprised of an interactive microsite called Unsubservientsanta.com. Users we’re invited to write their Christmas wish in the dialogue box and submit it to Santa. Santa would be woken by a flashing light and the request appearing on his printer. Using the latest in interactive technology, Santa would blatantly ignore the request and do something unseasonably unpleasant such as make a rude gesture, smash up the presents or cut down the Christmas tree with a chainsaw. The site proved incredibly popular with staff, clients, friends and the general public.

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Merry Christmas from Wunderman Zurich: WAKE UP SANTA (2006)

The annual greetings for Christmas and the New Year are a part of Christmas like Santa Claus and the Christmas tree. The tradition of these greetings is to be maintained, without being traditional. The agency network Wunderman/Futurecom should therefore look for a solution, which stands out against the flood of Christmas cards, amuses and at the same time underlines the expertise of the two agencies on their creativity and integrated communication.
The Solution: Wake up Santa, an unconventional sort of Christmas communication via an entertaining and engaging mailing and web game: Wunderman and Futurecom sent the selected recipients a printed Christmas card that asks them to be a hero. They should save Christmas online. This means waking up Santa by choosing the correct combination of waking-up-methods. http://www.wake-up-santa.ch is an interactive site: each try to wake up Santa is shown live via video streaming. The videos were produced in-house, by the agencies themselves. Despite the fact that the visitors had no possibility to win anything or got any other kind of incentive on the website, the campaign obtained remarkable results.

With a send out of 2750 addresses the Website generated:
– 3 784 visits
– 2 287 visitors, 20.4% of it regular
– average of 176 visits daily
– average of 5,27 minutes spent on the website
– 2990 waking attempts or approximately 15 000 streamed waking video clips
– 220 reminder registrations (9,6% of the visitors)

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Merry Christmas from Villarrosas, Barcelona: CHRISTMAS AGITATION FRONT (2007)

The Brief
At Christmas, the agency sent its season’s greetings to its clients and friends by creating the Christmas Agitation Front (F.A.N. in Spanish). ”

The Solution
A kit was sent by post with templates of slogans for windows and a spray, calling all the group’s followers to action. The themes on the templates were the F.A.N. logo, a Christmas ball-bomb, “Happy Climate Change”, “More ham and less syrup”, “Pay rise!” and “Consume moderately. It’s your responsibility.

The Results
250 welcome packs for the Christmas Agitation Front were sent in total.

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Merry Christmas from Wunderman Germany: CHRISTMAS DINNER (2006)

The Brief: develop an attention-grabbing mailing for the agency’s business partners, that:
-differentiates Wunderman from other agencies
-proves the creative excellence of Wunderman
-works as the perfect Christmas greeting.

The Solution: Christmas time is greeting time. And it’s also the time of perfect dinners.
Wunderman links both together. By sending out an eatable mailing, that – even if it’s made of paper – tastes like the classical Christmas turkey.
It was realized by Chicago’s chef Homaro Cantu, who developed a patented method to print the taste of different dishes to eatable paper.

Results. It’s fascinating, by attention and surprise. This innovative greeting supports the positioning of Wunderman as competent and creative dialogue-agency. Even if there was no response required, 36% of the addressees felt inspired to answer – some of them by inviting our Board of Executives to a Christmas Dinner.

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Merry Christmas from KMS Team, Munich: BUILDINGS BRANDS CHRISTMAS GREETING (2011)

The task was to develop a Christmas greeting for clients and partners on behalf of KMS TEAM, a company for brand strategy, brand design and brand communication.
The Christmas gift had to meet the following requirements: establish a personal connection, take up the topics of “brand” and “Christmas”, and invite the recipient to become active.
As a Christmas greeting, the brand agency KMS TEAM sent its clients and partners a personalized LEGO set: a conference room with the logo of the respective recipient as an image projection. Under the title, “Building brands”, the accompanying card established the connection to KMS TEAM’s core expertise. Thus a classic gift (LEGO for Christmas) became a delightful means of communication.
Many recipients of the present personally thanked the sender and had very positive things to say about the Christmas greeting.

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Merry Christmas from Advertising Depot, Brisbane Australia: ISTANT CHRISTMAS TREE MAKER (2005)

Brief: to generate new business without having to plead with prospective clients for lunch dates.
We created a Christmas gift that challenged expectations and was interesting enough that prospective clients would give us a call, instead of the other way around. In a market rife with predictable Christmas Gifts, the Instant Christmas Tree Maker aimed to turn expectations on their head and position us as an agency that achieves cut-through and can add new dimensions to our clients’ advertising.
The majority of prospective clients contacted us to say thank you, presenting us with an opportunity to set up a meeting to discuss their account. We have consolidated 3 substantial accounts as a direct result of the campaign, increasing our billings by approximately 30%.

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Merry Christmas from Red C Advertising, UK: CHRISTMAS NUMBER ONES (2008)

Wish clients a Merry Christmas in a fun and interactive way that shows how the agency is now producing work both online and offline. Include some form of Christmas present in the idea to prompt response.
Over the last year the agency had taken steps to offer online services alongside traditional offline services. This included the ability to film and edit digital video, build forms and design and build websites… no mean feat for what was once known as a traditional DM agency. We decided that the big rush to become Christmas No.1 would be a fun way to show off our skills to our clients… so we created an alternative Christmas No.1s competition with staff starring in their own pop videos and singing their favourite Christmas songs. Visitors to the site could then vote for their favourite and be entered into a draw to win an IPOD Touch. We sent out 300 cards, and had over 150 entries into the competition, giving us a response rate of well over 50%. With one very lucky person then going on to win an IPOD Touch!

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Merry Christmas from Lowe Roche, Toronto: HOLIDAY BUTTONS (2006)

Because in this magical time of goodwill and cheer, it’s easy to lose sight of what makes this season truly special: controversy.

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Merry Christmas from Leo Burnett, Milan: THE JUST BEFORE CHRISTMAS PARTY (2005)

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Merry Christmas from Creature, Seattle: CREATURE TOE HOLIDAY GIFT (2008)

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Merry Christmas from Young & Rubicam, New York: THE UNGRATEFUL BASTARDS (2010)

Y&R NY launched a new website called “The Ungrateful Bastards.” If you received a gift during the holidays that you don’t want (and who didn’t?), you can visit this site and trade for someone else’s unwanted gift. “Because one man’s stupid, unwanted holiday gift is another man’s treasure.”

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Merry Christmas from Saatchi & Saatchi, Slovenia: GREEN SANTA (2009)

Y&R NY launched a new website called “The Ungrateful Bastards.” If you received a gift during the holidays that you don’t want (and who didn’t?), you can visit this site and trade for someone else’s unwanted gift. “Because one man’s stupid, unwanted holiday gift is another man’s treasure.”

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Merry Christmas from Recreate.lu, Luxembourg: XMAS ROAD SIGNS (2010)

Nice little guerrilla action noticed in the streets of Luxembourg. Road signs have been discretely decorated in Christmas fashion. Charming initiative in this holiday season.

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Merry Christmas from 180 Amsterdam: CHRISTMAS MESSAGE (2007)

The Christmas card is a light-hearted attempt to contribute to current debates raging about multiculturism, secularism and the true meaning of Christmas. It’s also an appropriate greeting from an agency that boasts over 24 nationalities.
Recipients are invited to assemble their own nativity scene from an empty stable and an accompanying sticker-sheet that features a whole mélange of characters. Choose Santa over Joseph or a Burka-clad woman over Mary. Further options include an array of gift bearers, animals, stars and gifts (many of which are courtesy of the agency’s clients). The broad selection guarantees endless fun and limited offence.
The Christmas message was sent out to clients, colleagues, partner agencies and competitors as a funny way to spread Christmas cheer and also awareness of the agency’s ability to execute an idea in an irreverent and entertaining way.
The Christmas card created a stir and was noticed and appreciated in a season that generally is drowned in clutter..

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Advertising Advent Calendar: 25 ideas for an unconventional Christmas

December 1 from Lowe SSP3, Bogotà

Ministero de Defencia National – Operation Christmas (2011)


After 60 years of struggling against Las FARC, the longest running guerrilla warfare group in the world, 6000 guerrillas still remain in the jungles of Colombia. The Ministry of Defense asked us for an idea to demobilize the remaining guerrillas, but delivering demobilization messages to them is very difficult because they hide deeper in the jungle everyday. We discovered that Christmas is an emotional time of the year for guerrillas because they are away from their homes and loved ones, so we created a four-day operation that brought Christmas to the jungle. Along a strategic guerrilla route through the jungle, we chose a 25 meter tall tree to decorate with lights. When guerrillas approached the tree, movement sensors made it light up and a banner announced the following message:
“IF CHRISTMAS CAN COME TO THE JUNGLE, YOU CAN COME HOME. DEMOBILIZE. EVERYTHING IS POSSIBLE AT CHRISTMAS.”
Result: 331 guerrillas who have demobilized acknowledged that they were motivated to finally give up their weapons thanks to this idea, that was replicated with 9 more trees. The Operation got so many people involved, that it was shown all over the world through videos, websites, social networks and blogs. Main local and international media networks like CNN and BBC broadcasted it. This Operation showed a more humane and positive side of Colombia’s internal conflict.

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December 2 from MarketingVivo, Madrid

Madrid City Council – The Wishing Tree (2008)

The Challenge was to find a relevant idea for an event that would involve citizens of Madrid, in the City Council Christmas campaign. A Christmas related idea but not a cliché. We create a concept for a participatory action that fulfilled the challenge: The Wishing Tree that grows with the wishes and hopes of Madrid citizens, for 2008. On that base we built a stunt in the Retiro Park, Madrid’s most famous park, located in the centre of the city.  Starting December 21st, a huge Christmas tree kept growing in the Retiro Park in Madrid, thanks to the participation of the citizens who went to set down their wishes for 2008, written down on helium balloons; the tree got to a height of 32 metres. 21 actors dressed up like gardener elves, with their giant snails, welcomed the visitors, and made the process easy, emotional and fun. This was a very moving experience for all participants. The action ended in a special ceremony, the tree opened up and all the balloons were released: all the wishes flew into the Madrid sky. By creating a participatory activity, we made Madrid City Council Christmas campaign, more relevant to the citizens A part from the fact of the massive participation, this was a very moving experience, not just for the kids but for grown people, who focused their energy and hopes in the moment that their balloon wishes for 2008 were feed into the tree. Result: over 120,000 people participated and wrote their wishes. Over 40,000 people attended the final event of balloons release, great media coverage in main newspapers (El Pais, El Mundo, ABC) and on main TV News. Madrid City Council wants this event to become a tradition at Christmas in following years.

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December 3 from Ogilvy Brasil

Coca-Cola – Santa’s Forgotten Letters (2011)


Coca-Cola and Christmas have always gone hand in hand. However, adults don’t care so much about Christmas anymore, and its magic is almost lost. Our challenge was to give adults a reason to believe in Christmas again.
And to do that, we decided to take them back to a time when they believed: their childhoods.
Creative execution: remember a letter you wrote to Santa as a kid? What if Santa found it now and brought to you the exact gift you had asked for many years ago? That’s exactly what we did. We searched the world and, in the little town of Santa Claus, Indiana, found the Santa Claus Museum, a place that keeps letters to Santa dating back to the 1930’s.
We went through 60.000 letters, selected 75 of them and then set out on an impossible task: to find the writers and give them the exact gifts they had asked when kids – from a Cathy Quickcurl doll to an Evel Knievel Skyrocket. We also made a video documenting the whole process, including each personalized stunt, and spread it across the world through Coca-Cola’s facebook fanpage, which has more than 25 million fans.
By creating these emotional and personalized door-to-door stunts, we gave the impacted adults a special reason to believe in Christmas again – some of them even sent us thank you emails saying they would never forget the day Santa knocked on their doors. The video was also very successful, being featured in several blogs, twitters and facebook pages. More importantly, we made adults believe in Christmas again.

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December 4 from GOSS, Gothemburg

Gothemburg Homeless Aid – Return to Sender (2008)

Gothenburg Homeless Aid is a voluntary organisation that helps the homeless, substance abusers and other vulnerable people.
People are a bit more generous around Christmas and tend to give more to those less fortunate than themselves. That’s why Christmas is a very important time for the Gothenburg Homeless Aid, a time when a large proportion of the entire year’s funding is collected.
But what can be done to stand out in the onslaught of mailings and Christmas cards? Actually, we created another Christmas card. To draw attention to all the people with no fixed abode in Gothenburg we sent out the Christmas cards in envelopes addressed to: “Lasse Persson, a doorway/tunnel/stairwell, Hisingen (a part of Gothenburg)” and wrote the details of the actual intended recipient on the back of the envelope. Obviously the Swedish post office couldn’t find Lasse because he has no real address. The mail therefore had to be returned to the ‘Sender’ address on the back of the envelope with a post office stamp saying ‘Not known at this address’. The yellow label on the envelope not only highlights the fact that there are people in Gothenburg who have nowhere to live. It makes it virtually impossible for the recipient to simply discard it without opening it and seeing what it’s all about. The Christmas card was sent to 20,000 people in Gothenburg, in the days before and after Christmas. The campaign raised SEK 1.6 million (around EUR 170,000), which is more than any other campaign for Gothenburg Homeless Aid. The result was also an increase by 60% compared to the previous Christmas campaign.

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December 5 from Lowe Brindfors, Stockholm

COOP – Update the Christmas Table (2007)

In Sweden, people are very traditional – especially when it comes to food. We eat the same Christmas dishes as our ancestors have done for hundreds of years. Many can be traced back through the generations to the time of the Vikings. Needless to say, much of this food isn’t healthy or inspiring. With this campaign, Coop wants to challenge traditional notions and introduce the target group to new ideas, including healthier Christmas food. The main goal of the campaign is to “Update the Christmas table”, which the visitor literally gets to experience.

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December 6 from Leo Burnett Lisbon

Bola Amiga (Abandoned Children Awareness) – Christmas Gift (2006)

The brief: motivate wealthier people to donate for helping abandoned children.
The solution: we decided to create a mailing peice for company directors and managers. It consisted of a Christmas gift. Only when opened, instead of a gift, they found a cardboard box with a printed image of a homeless child sleeping in it. Near the child, a card read: “For some, Christmas is never merry.” The results: donations grew 35%. Nearly 60% of the people expressed their thanks. Many felt touched by it, and wrote things like: ” The best Christmas present anyone could receive”; ” I was totally surprised”; ” My wife even cried when she saw it.”

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December 7 from Akestam Holst, Stockholm

The Swedish Post – Living Christmas Cards (2011)

Swedish Post’s (Posten) business relies on people sending tangible things (cards, packages etc.), thus in a way the rapid digital development poses a heavy threat. Year after year, we see a decline in number of Christmas cards sent, and an increase in digital messages spread around this holiday. Consequently, the objective was to inspire Swedes, primarily young people who don’t usually send tangible greetings, to send real Christmas cards and decelerate the negative trend. Main insight: people love getting cards but think it’s too much of a hassle writing and sending them – thus, sending cards needs to be more fun.
New technology merged with old-fashioned thoughtfulness resulted in “Living Christmas Cards”; the world’s first Christmas cards photographed live from the web. Our expectation was that this would re-energize Christmas cards and make them more relevant to young Swedes. A reindeer’s pen was built on the top of a mountain and web-cameras were mounted in and around it so people could take their own unique pictures from the pen through a website. “Living Christmas Cards” was connected to a web-tool called “Real Postcard” where you upload pictures and write messages, which Posten then deliver as postcards.
Since many (especially young folks) think that Christmas cards are something for the elders and that is not something they go about doing, the key in this execution was to re-define what a Christmas card can be, and not the least how to create and send one. Hence, the execution made people interact with Christmas cards in a whole new way and realize that this product is not obsolete – it’s in fact the opposite. This was also important from a brand standpoint, since Posten is often seen as old-fashioned… not so much any more.
In order to make people aware of our projects we placed advertising banners on relevant external websites, as well as on Posten’s own site, that would lead the target audience to the respective landing site. Furthermore, the message was spread through social media, which played a key role in driving traffic. Results: the negative trend for real cards decelerated heavily. 2010 became the best year ever for the “Real Postcards” web-tool (from where the Living Christmas cards were sent) – an 18% increase in sent cards compared to 2009. 55.5% of all cards sent through ”Real Postcards” were sent around Christmas, indicating that this promotional campaign was highly effective. Furthermore, the campaign generated massive impact in non-bought media. In total, PR contacts were estimated to 6.6 million (Sweden’s population: 9 million) and PR was highly positive.

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December 8 from McCann Erickson Belgium

Hospital Cavel – XMas Card Premature (2011)

Every year, the premature baby unit at Edith Cavell hospital sends cards to the other departments as well as to some ex-patients.This year, they sent this card in mid-October. When you open it, you see the message “It’s a little premature, but Happy Christmas”. The surprise to receive a Christmas card 2 months in advance was really appreciated.

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December 9 from Shackleton, Madrid

Spanair – Unexpected Luggage (2011)

Spanair flight JK5208 from Barcelona arrived at Las Palmas on the evening of Dec. 24, at a time when most European families are traditionally enjoying their main Christmas celebration. As the 190 passengers waited impatiently for their suitcases, they saw the luggage belt lurch into action — but instead of seeing their own bags, they saw an array of bright, gift-wrapped presents of all shapes and sizes parading past them. Covered in gold, silver, red, purple and green candy-stripes and decorated with flamboyant ribbons, the unexpected packages chugged past the astonished passengers. People gradually began to notice their own names on the parcels’ gift tags, but nervously watched them go past a couple of times before daring to pick them up. After awhile, they began to pick the presents up and shake them suspiciously for clues as to their contents. Eventually they tore open the wrapping to reveal gifts for every kind of passenger. For the kids there were teddy bears, giant candy bars, toy horses, cars, trumpets, puppets and costumes; and for the adults, beauty products, Lomography cameras and hats.

The passengers directed a spontaneous round of applause at the luggage belt, and each had a heart-warming tale about Spanair — which markets itself as “La de Todos” or “Everyone’s Airline” — to tell their loved ones at Christmas.
The whole stunt was planned by Spanish ad agency Shackleton, based in Barcelona. The agency’s VP, Enric Nel-lo, said in a statement, “We understand the emotional stress of traveling on such a special evening, particularly on one of the last flights, when everyone else is reunited with their families celebrating Christmas Eve. These passengers deserve a gift like the rest, with all the excitement and the surprise factor, too. It was a very special gesture for all those who have no other choice but to fly on the night of December 24th.”
Nuria Tarr, commercial director of Spanair, said in the statement, “This action strengthens the company’s image in the areas of innovation and closeness to our passengers. We’ve created a very warm and human brand experience and it’s a true reflection of the positioning we have been building since last year.”
In less than 48 hours, a YouTube video of the event received more than 100,000 views, and more than 7,000 users shared it on Facebook and Twitter.

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December 10 from Ubachswibrun/JWT, Amsterdam

MINI – MINI Christmas Box (2010)





2009 was the year of MINI’s “99 euro” campaign. MINI was looking for a closing offensive within this campaign for the month of December. The goal was to convey the MINI brand experience in combination with the low price. We used the familiar day-after-Christmas street scene: rubbish bags, Christmas trees, and the cardboard boxes our presents came in. A recognisable scene that MINI also makes intriguing. Because all over the city, we see a MINI Box on people’s doorsteps with a big “99 euro” price-tag. This is how we showed that MINI falls under the category of “affordable presents”.

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December 11 from Saatchi & Saatchi Romania

Toyota – Christmas Bubble (2008)

Toyota client asked the agency for a direct mailing that would convey the company environmental commitment, also when wishing their clients Merry Christmas. We decided then to produce some delicate and precious objects such as hand painted Christmas balls, and to put them in an anonymous box with the word Fragile on it.
The boxes were then delivered one by one personally to a selected list of VIP clients, journalists and Romanian opinion leaders.
When they opened the box, they found a “Christmas globe” and with it a strong but sweet message: “The world is in your hands. Treat it well. Merry Christmas from Toyota.

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December 12 from Contract Advertising, India

Cadbury India – Christmas Celebrations for the blind (2009)

The challenge was to create a package which would touch lives directly. A package that would reflect the simplicity and more importantly, the sincerity of the idea. The key objective was to take the brand and its gifting properties beyond regular consumers, to cement Cadbury’s reputation as a good corporate citizen during Christmas. Cadbury Celebrations is an assortment of fine gift chocolates. During the festive season, alongside the usual boxes of chocolates, the client wanted us to initiate a Corporate Social Responsibility activity which would in his words, ‘directly and tangibly make a difference’ to someone.
Keeping the objective of ‘corporate social responsibility’ in mind, we thought of including blind children in this festive season. Could our pack make an emotional bridge between the season of giving and the brand?
Taking off from who the gift was intend for, the idea to do a Braille pack for Cadbury Celebrations came spontaneously. How wonderful would it be for a visually-challenged boy or girl to wake up on Christmas Day and receive a Christmas gift like none other? We set about designing various options, using papers of different GSMs till we had a cost-effective, yet appealing solution which offered a unique texture.
This special package was not up for sale. However, it earned us rich dividends in terms of the joy that was spread in abundance. To see the children break out into smiles as they read the cover of the box, and then bite into the chocolates, was so heartwarming, that the Victoria Memorial School for the Blind invited Cadbury for every festival of the year. The goodwill earned, has cemented Cadbury’s reputation as a good corporate citizen, who performed its Christmas act of giving, in a quiet and unobtrusive manner. No PR articles were issued around this for example, preserving the integrity of the project.

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December 13 from Starcom/JWT Italia

Coca-Cola- Illumina la città di Milano (2009)

The 2008 campaign has a new claim “Light up Christmas with a Coca-Cola emotion”. The challenge was to revitalize and further amplify “light up” communication code with innovative activations.
The insight that sparked the idea was drawn from the fact that media at the time was focusing on urban security concerns following an apparent wave of street crime. Dark winter streets were the symbol of this feeling – and large city administrations were putting a lot of effort into bringing light to their citizens. Coca-Cola could leverage this initiative and add joy and positivity to the initiative, by lighting up an urban vehicle (a tram) in the fashion of the traditional Coke Truck – which would navigate the streets at a peak moment in pedestrian traffic.

In order to illuminate Milan, Coca-Cola has chosen an urban transport icon, the tram – also, supporting the public transport service as a mean of higher security in a traffic-intense part of the year.
Historic trams were converted into branded cable-cars of white light, spreading brilliance through the streets and serve as an iconic image for both the advertiser and the city.
The cars toured the central area of Milan, spreading its positive message with the further support of actual Santa Clauses on board, distributing branded Christmas gifts at every stop. The Coca-Cola logo was highlighted at the head of the car, associated with holiday wishes from the Municipality. Adding a signal of social responsibility, the project was also engineered using low energy technology.
The project was announced in a press conference that also featured prominent Italian political figures including a Minister and the Mayor of Milan.

Even amongst the already sparkling Christmas decorations of the city, the tram had an extremely positive impact on passers-by and passengers. Immediate reactions captured on the spot clearly show the deep success that this initiative had in enhancing the overall Christmas atmosphere.
Also, due to its public component – as it involved local authorities and the support of their efforts in improving the life and aspect of the city – the action enjoyed a wide resonance and PR support, ranging from publicly expressed commendations from political personalities and the mayor, to press coverage, to word-of-mouth through the population of Milan.

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December 14 from UM Sydney

Lego – Santa’s Little Helper (2010)

To adults, gift-buying for children at Christmas time is a daunting experience. Especially when making the right choice validates them as a good parent, grandparent, auntie or uncle. Add to this the sheer volume of toy advertising pre-Christmas and you quickly turn a daunting experience into a nightmare. Too much choice, a whole lot of pressure, and very little time. Efforts were focused on taking the stress out of choosing a gift, and in doing so positioning LEGO as the No.1 choice this Christmas. LEGO = Santa’s Little Helper, a multifaceted campaign that spoke to kids and adults.

At the campaign’s epicentre was a purpose-built local website taking the anguish out of buying toys. Simplifying things, it showed parents the LEGO range by their child’s age group. It also helped them find their nearest retailer, and print a product page to take in-store. Never before had such a LEGO service existed in Australia. To get gift buyers there, we bought a unique search term: “Santa’s Little Helper”.  We placed the term front and centre in all advertising: Santa’s Little Helper appeared in cluttered retail, outdoor, print and sampling environments in the Christmas lead-up. A refreshingly simple message, in chaotic places, at a chaotic time. Santa’s Little Helper didn’t stop there. Via product TVC’s, kids were invited online to a fun-filled destination to create LEGO e-cards showcasing their favourite LEGO toys, which they could then send to Mum and Dad, unwittingly aiding the Santa’s Helpers list.

Results: over 682,000 searches for LEGO or ‘Santa’s Little Helper’. Santa’s Little Helper generated a click-rate of 3.5%… double the toy-industry average. And better still, our overall search click-rate was 6 times the toy-industry average. Gift buyers viewed an average 14.8 pages per visit – an extremely sticky result. Santa’s Little Helper drove more product page views than any other LEGO-related term (brand terms are normally the strongest drivers). 5,263 store searches. 1,170 kids sending e-cards to their parents. 15,000 bricks in-hands through sampling. Sales were up 39% year on year.

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December 15 from JWT New York

Macy’s – Believe Mailboxes (2009)

The 2008 holiday season threatened to be the most difficult since the Great Depression. Macy’s needed an idea that would drive traffic and rekindle the holiday spirit from new and existing customers, in a time when it was in very short supply.
Despite the economic forecast, there was hope. The election brought a sense of change to America, and people were desperate for good news. This led us to the insight that to believe in something as ineffable as Santa Claus is to believe in the true spirit of Christmas. For Macy’s 2008 holiday campaign, we asked America to “Believe.” Macy’s has had a long history of epic Christmas celebrations. The brand boasts a world-famous holiday parade, iconic Christmas windows, and a well-known relationship with “the real Santa.” Even a classic American holiday film “Miracle on 34th Street” is about the fact that Santa Claus works at Macy’s. No other American department store had the permission to ask America to Believe. And few brands could pull it off at the scale at which Macy’s is used to operating.
At the core of the Believe campaign was an activation idea where we asked people to prove they believed by writing a letter to Santa Claus and mailing it at Macy’s. For every letter collected, Macy’s donated one dollar to the Make-A-Wish Foundation – a charity devoted to fulfilling the wishes of children with life-threatening illnesses. To collect the letters, we installed Believe mailboxes in every one of Macy’s more than 800 stores nationwide. Our goal was stated from the beginning – we wanted to collect more than a million letters and donate $1 million dollars to the Make-A-Wish Foundation.

The Believe Stations that housed the mailboxes helped Macy’s become a fun family destination for the Holidays, and not just another place to shop.
The idea inspired the nation. The Herald News from Joliet, Illinois tells of a four-year old leukemia victim named Mia, who collected over 800 letters from her classmates because she wanted to help the Make-A-Wish Foundation.
We exceeded our goal and collected 1,079,206 letters to Santa. On December 23, we presented the Make-A-Wish Foundation with a check for $1,000,000.

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December 16 from Crispin Porter+Bogunsky Europe, Gothemburg

Swedish Postal Service – Magical X-mas Cards (2010)

What can the Swedish Post do about young people only sharing their lives on Facebook these days? How can we prove the strength of a traditional post card? Our solution: let people create and send Christmas cards, using modern technique! Let all the hours you’ve spent sharing your life on Facebook come to use, now as a real Christmas card – containing personal design made of the texts from you and your selected recipient. Write a greeting on the flip-side, and the card is delivered to your friend’s doorstep, tempting her to send her own greeting.
By collecting status updates and comments from Facebook then making them come alive in the physical world, we created something original and unique. The target group was impressed by the personality and character of a physical Christmas greeting. Something they, in many cases, had never experienced before. This suited the brand like a glove. The Postal service wants people to feel that a physical letter is the most personal way of communicating. And you couldn’t find a more personal Christmas card than this. Each one reflecting the sender and reciever’s communication during the past year.
The strength of this campaign was two-fold, it spread itself through the actual physical cards delivered and also through social networking. The way this campaign combined the physical world with the digital was paramount in its success. To begin with, 100 cards were sent to chosen individuals in the target group. As a result, during the campaign’s short span (18 days) more than 5000 cards were made and delivered by the Postal service.
The campaign created a massive positive reaction in blogs and social media where the Postal service was portrayed as well in sync with the present. During the 18 days this campaign ran, over 5000 cards were sent as a result of 65000 unique visits. The average time spent on the site was 3:40 and the sales cost per response was 25 SEK.

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December 17 from Scholz & Friends, Berlin

Bosch – The Push-Puppet Chainsaw (2006)

Brief: create a retailer-mailing that draws attention towards the Bosch Professional Chainsaw which combines great power with outstandingly easy handling. We used a well-known toy to dramatise how powerful and easy it is to handle this professional chainsaw. Well timed for Christmas, we produced the “Bosch Push-Puppets” and sent them to the retailers. If they pressed the button at the bottom, the trees were cut down and a “conqueringly“ lumberjack stayed standing, holding a Bosch Chainsaw in his hands. A sticker at the bottom reads: “High performance. Easy to use.”  The push-puppet was sent to retailers in Germany in combination with a request-fax for a personal presentation from the Bosch sales staff. The mailing generated an unusually high response of 11.5%.

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December 18 from Famous Brussels

Belgian Lawyers Association – Santamatic (2011)

The Flemish Lawyers Association wanted to improve awareness about online agreements. Consumers don’t realise that those are real agreements as well. With real obligations. Just like any other contract you’d sign. How could we make consumers aware of that carelessness?
Consumers are not aware of the fact that online agreements are also legal agreements. With real obligations. Just like any other contract.
The Santamatic confronts us straight with our careless behavior.
After seeing the movie, you could send it to a friend including a ridiculous obligation added by yourself. And wonder if your friends would read the terms and conditions.
A week before Christmas, an online application was launched in which you could morph yourself into an 80 year old Santa. You had to upload your picture, fill in your name and agree with the ‘terms and conditions’ But instead of seeing yourself as an old Santa, something else happened.
A man confronted you with what you just signed. The picture you uploaded could be used to promote ivory.
At the end he reveals that he’s a lawyer. The few people that actually opened the terms and conditions before they started morphing, got a congratulations message from the ‘Flemish Lawyers Association’
Results: of the 24.000 visitors of the first 5 days after launch, only 6.566 opened the terms and conditions. That means that only 1 out of 4 people actually read what they’re signing up to.

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December 19 from JWT Spain

Amnesty International – Christmas Gift (2011)

Amnesty International needed funds so as to be able to continue campaigning against human rights abuse.
Our challenge: to do a Member-get-Member promotional activity encouraging current members to give an Amnesty International subscription to their loved ones for Christmas. We chose the typical gift you’re committed to at Christmas time (a pair of socks) and turned it into a gift with commitment. In conjunction with a fair trade workshop, we created some socks with designs related to injustice.
As detailed on the list of type of media referred below (and in the presentation board), there was a print campaign in the Spanish Amnesty International magazine and an email sent out to all the people listed in their database (including members and supporters), along with banners that addressed people to the micro-site of this campaign.
These socks became the welcome pack which new members would receive with their gift subscription to Amnesty. And they were the first step to Amnesty International’s Catalogue of Gifts with Commitment.
We multiplied the number of members recruited in previous Amnesty International ‘member-get-member’ campaigns by 26. And we ran out of socks.

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December 20 from Wirz/BBDO

Salvation Army – Donated Song (2011)

During their traditional street collections, the Salvation Army sings the same well-known Christmas carols every year. This means the organisation is reaching fewer and fewer people and particularly lacks appeal to younger donators.
To reach a young target audience, our strategy was to make the Salvation Army appear surprisingly younger without losing its well-known singing tradition – after all, there are plenty of other musicians who have a lot of success with their songs.
Our idea was to ask Swiss music stars whether they would be willing to donate one of their hit songs to the Salvation Army. Some of the most famous bands in Switzerland took part, allowing the Salvation Army to sing their songs for free, several of which had been number one hits in the Swiss singles charts. This eventually enabled the Salvation Army to sing songs on the street from big-name stars who have an enormous fan base among young people in Switzerland. The Salvation Army was out rocking and rapping on the streets, attracting attention and giving it a younger image.
Everyone has seen the Salvation Army singing on the street. Everyone knows the hits that were donated. But the fact that the Salvation Army – which had always had a serious but slightly boring reputation – was out on the streets just like before but this time singing hit songs, confused people – but in a positive way. And that was despite the fact that the Salvation Army was out there doing what it does every year – namely singing.
The reporting carried out by TV and radio stations, newspapers and websites achieved 65% penetration countrywide. Achieving similar results using conventional advertising would have required a media budget of Swiss franc 550,000, i.e. seven times more than our entire communications budget.
The song donations were effective not only in the mass media but also out on the street. Young people reacted positively and the Salvation Army became a topic of conversation. It also helped to halt the slide and turn things around in terms of donations, which amounted to around Swiss franc 1.5 million, despite competition from other charities.

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December 21 from TBWA/Hunt/Lascaris, Johannesburg

Drive Alive (safety message) – Xmas Tree (2007)

Ambient piece of media (a real christmas tree) placed in Johannesburg Town Centre and shopping center.

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December 22 from TOY, San Francisco

Ministero de Defencia National – Elf Yourself (2007)

Our job was to get people to associate OfficeMax with the holidays. Treating the office cubicle as our medium, we created twenty holiday-themed websites linked together under one rollover tab. ElfYourself.com became the hit of the season. At peak, it received 200 hits per second and became the 275th most visited site on the Internet according to Alexa. Featured on Good Morning America, CNN, #2 on Entertainment Weekly’s Must List, VH1’s Best Week Ever, USA Today’s Pop Candy blog and others, the site had over 40 million visitors and over 10 million elves were created in a five-week period.

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December 23 from Ogilvy Beijing, China

Greenpeace China – Coal Globe (2009)

As China is now the world’s second largest contributor to global warming, the nation plays a vital role in any global environmental decision-making conference. And as coal burning accounts for a vast majority of China’s CO2 emissions, the objective was to show delegates that Greenpeace, along with others, provides a strong voice of opposition to China continuing their business as usual ways of energy production. The main physical challenge was that since there was very little known about the venue in advance, the design would have to have impact by simply sitting on a tabletop.
Greenpeace China needed a strong message to take to the UN Poznan Climate Change Conference, as it would determine how ambitious the environmental goals of the critical Copenhagen Protocol could be.
The Conference was taking place during the middle of the Christmas season. Therefore, a typically cheery snow globe scene was turned into a poignant environmental coal-burning message by replacing snow flakes with coal dust.
“It gave us the kind of jaw-dropping impact needed to convince global delegates that China is feeling the necessary pressure in the lead up to Copenhagen,” said Greenpeace’s Communications Director, Sze Pang Cheung. And subsequently, the Copenhagen goals being discussed for carbon emission reduction have been far more ambitious than previously thought possible.

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December 24 from Swiss Publicis, Zurich

Blue Cross (alcoholism awareness) – Drunken Santa (2007)

People with alcohol problems have even greater difficulties at Christmastime. Wine and mixed drinks are available everywhere; one celebration follows the next. Some alcoholics are ashamed of their addiction and drink along so as not to call attention to themselves. Others don’t want to admit that they have a problem. Blue Cross is an organisation that helps people with drinking problems. This was to be conveyed at Christmastime with a PR-attracting promotion.
Because it’s difficult during the hectic Christmas season to generate attention for such themes, we had to conceive of something special. We sent an actor dressed up as Santa Claus into downtown Zurich. He acted drunk, staggering through the streets in his costume and trying to distribute flyers in this condition. He carried a sack with the message: “Alcoholism can affect anyone. For help call: 044/262 27 27. Blue Cross.” The entire action was filmed by a cameramen and captured by a photographer, and passed on to the TV stations and newspapers to create even more publicity.
Alcohol addition is a taboo theme. Those affected usually cannot help themselves in regard to their addiction and friends and relatives often ignore the problem. Through this seasonally relevant action we brought alcoholism and the fact that it can affect anyone into media discussion.
The goal was to bring the theme of alcoholism to a broad public. The action was a complete success; thanks to the large number of spectators, hundreds of flyers were distributed. Multiple press reports from large newspapers and magazines such as the Tages-Anzeiger, 20 Minutes, Swiss Illustrated, etc., multiplied the value of the investment. Due to the PR as multiplying factor, more than a million readers (= 0.01 CHF per contact) were reached. The client received many letters and e-mails referring to the action.

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December 25 from TBWA Germany

Sony Playstation 3 – LittleBigXmas (2009)

Christmas time is the time for Christmas cards. However, Sony Playstation didn’t just want to wish its customers and business partners a Merry Christmas, but really wanted to give them a merry time.
Based on the game “LittleBigPlanet”, a special Christmas greeting level was developed, produced and released online. All business partners were informed about this exclusive Christmas level through a mailing, and were challenged to play the game.
Therefore, a special Christmas Greeting Level was developed and built based on the Playstation gaming highlight LittleBigPlanet, and then placed online. Partners and friends of Playstation were informed about their exclusive Christmas Level by means of a mailing, and were invited to play it themselves.
Of the 3,000 persons who received the playable Christmas greeting, 910 finished it completely and awarded it with 4 of 5 stars. Amongst all the other 100,000 levels, this is a real top-rating.