Wrangler/We Are Animals Campaign – The story behind the animals

In 2008, clothes company Wrangler put out a pitch to advertising agencies asking for help to reinvigorate the brand within the European youth market. It faced a specific image problem. “The problem was that Wrangler is an American brand, 125 years old, associated with middle America…” explains Fred Raillard of Parisian agency Fred & Farid. “So the perception of Wrangler was very much linked to the cowboy… But the cowboys in Europe was negative, because the cowboy means old, white America. It’s Marlboro, it’s John Wayne, it’s the people behind the indian genocide. It’s George Bush, who was hated in Europe”.

Despite this, Fred & Farid, which won the pitch, felt it was important not to stray too far away from the brand’s root in its new advertising. “You cannot start from scratch with the communication of a brand thai is 125 years old” continues Fred. “You cannot. Especially as in America the communication about the cowboy was to carry on… So we tried to extract the values of the rodeo  – the wildness, being on an animal, roughness. Also, the positive aspects of cowboys – environment, nature, living with animals. Living in sinch with nature, having courage. We tried to extract some values that would connect with young people in Europe. The we thought: maybe we could just move from the cowboy to the animal… To the horse, in fact…”

This concept tied in with an old logo for the brand that the creative team found during their research. The logo from the 1970s saw the letters of the Wrangler name forming the shape of a horse. It may have been what Raillard describes as “cheesy”, but it meant that Fred & Farid’s idea of focusing on the brand’s associations to animals had a heritage. They then tested the concept on the target audience, and connected the idea with the culture of the time. “It was a period when we where facing a crisis” says Fred, “everything was collapsing, the banks were collapsing, and in that period of time we all had the feeling that our human society had reached a limit. So it was relevant to highlight that maybe we’d lost something when we lost our animality…”

The slogan WE ARE ANIMALS was decided upon, though Fred & Farid realized that this high concept ran the risk of backfiring if the execution of the ads was too heavy-handed. The key was to emphasize the animal instincts of humans, but in an unexpectede way. “The first thing we decided was to never show any animals…” says Fred. “To not create confusion – we’re talking about human animality, so the big mistake would be to show an animal. Then we thought with such a strong statement, we couldn’t play around, we had to really do it. The whole background had to be animalistic – spontaneous, not too intellectual. So we decided to set up a way of working on Wrangler that was more spontaneous and creative…”

The team decided to avoid too much planning and over-thinking before the shoot, and to employ a photographer who was skilled in attaining a raw, natural quality to their work. “We looked at photographers not from the ad industry but from art” says Fred. “People who in their personal work are passionate about showing human animality, celebrating animality in humans. We choose Ryan McGinley, as already in his personal work he was really driven by the whole idea of our animality…”

McGinley’s shooting style is loose, and his work follows a tradition of documentary photography begun by artists such as Nan Goldin and Larry Clark. He developed his style in the late 1990s by documenting his friends and acquaintances in New York engaging in parties, sex and general hedonism. When he moved to more formal shoots, using models, he retained this naturalistic approach. A shoot of McGinley’s even a commercial one, will usually involve setting up loose parameters and scenarios, but otherwise letting events evolve naturally, with everything captured on camera.

Fred & Farid wholeheartedly embraced this style of working for Wrangler shoot, which took place in the New Jersey countryside over two nights. Twelve models were selected to take part, drawn not from professional agencies but from street-casting. Actors and performance artists were also among those chosen, and the shoot, when described by Fred, has the feel more of an art performance than a commercial exercise.

“It was a crazy shoot!” he says. “People made love in front of us… everybody got crazy for two nights. It was freezing like hell, we were wearing North Face jackets, and they were naked in nature! Everybody was amazing, everybody went for this art experience. We experimented with any idea that anybody had on set…”

Mcginley, and his assistant, Tim Barber, took thousands of photographs over the two nights, according to Fred. “So you don’t even have time to think about anything – any idea that anyone has you experiment with. It’s chaos, complete chaos… and inside this chaos some pearls pop up…”

The shoot resulted in a set of arresting images, which were used to create the posters that stood at the centre of the WE ARE ANIMALS campaign. Beyond the impact of the images themselfs, what is striking about the posters is the lack of overt branding. The brand’s logo appears at the bottom, alongside the tagline, but otherwise the photographs are given room to breathe, a highly unusual approch in billboard advertising today, where brands have a tendency to shout their messages.

Even the product itself is absent from many of the shoot. “We had to convince them” says Fred. “Clients want to show their product, but we really fought to convince them, to get them on board with us that it is more important to bring back the Wrangler attitude and make a connection with a new generation. They would never have done it by showing the denim, because even if it’s great denim, denim is not a surprising product. We all wear denim now…”

The WE ARE ANIMALS print and poster campaign is a great example of pure branding. Fred & Farid used other media to do the less exciting work of the ad campaign – using the Wrangler website to provide the vital product information, for example – but insisted that the posters be more ambiguous. It was a risk strategy that ultimately paid off for the jeans brand, injecting it with an edge and attitude that allowed Wrangler to stand out within an extremely crowded market.

Wrangler Jeans print advertising campaign, “We Are Animals”, won the Grand Prix for Print at Cannes International Advertising Festival.

The Wrangler campaign was developed at FFL Paris by executive creative directors Fred & Farid (Frederic Raillard and Farid Mokart), art directors/copywriters Julie Louison and Perinne Durand, copywriters Baptiste Clinet, Nicolas Lautier, Philippe Pinel, Frederick Lung. Filming was shot by  Ryan McGinley, known for his nude films.

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The Quechua Experiment – The First Scrollable Commercial on Facebook Timeline

Quechua debuts an ad for its “two-second tents” online with a series of photos to scroll through on its Facebook timeline.

Facebook timelines for brands have only been available a short while, but innovative uses for the platform just keep on coming. The latest is from outdoor clothing and equipment brand Quechua, and in order to watch it, users must play the role of projectionist with their scrolling fingers…

French outdoor brand Quechua worked with Fred & Farid’s ‘creative influence’ agency, Kids Love Jetlag, to create The Quechua Experiment, a preview of its new commercial using Facebook Timeline. Visitors to its Facebook page scroll to the bottom, then press shift + space to see the ad (which promotes the brand’s two second tents) presented like a stop motion animation.

See the experiment on Facebook
A simple but very original way to use Facebook timeline that gives the idea of the possibilities it offers.
Advertising Agency: Fred & Farid/ Kids Love Jetlag
Year: 2012

Fred & Farid & Orangina

Orangina – Naturally Juicy (2007)


Anthropomorphism is taken to the max for the fantastical beasts in Naturally Juicy, a surprisingly raunchy spot to promote the fizzy drink Orangina. It aired in France in 2007, the UK in 2008, and has been talked about ever since.
Based on product’s attributes, the natural orange juice and the fizz, the story is about the meeting of a busty sexy deer and a horny bear. We follow them enjoying this naughty world mixing nature and sexiness, furries and craziness. They finally catch each other in a typical hollywood happy ending. Tagline: Naturally Juicy. Commented Todd Mueller, Creative Director/Co-founder, Psyop: “I guess it goes without saying that when you get the opportunity to spray Orangina all over the chest of a sexy bunny girl, you go for it. That was basically the motivation and creative charge throughout the production; raunchy naughty furryness. The agency FFL were amazing to work with and just kept pushing us to get furrier and naughtier. The production team at The Mill and Stink brought everything they had to the table and the results are phenomenal. Now that we are finished, it’s a bit sad to leave this crazy world behind. There’s so much more to find out about this forest and these sexy creatures.”

Its Psyop directors Todd Mueller and Kylie Matulick clearly revel in doing things differently. Mill 3D, led by CGI and Animation supervisor Juan Brockhaus, mapped motion capture data, roughed 3D models and established the timing. You have to admire anyone who can translate human dance moves into those of a ten-foot-tall giraffe or a chorus line of bi-pedal zebras. Details such as fingers and facial expressions were hand-animated, including some major re-animation of the humanised animals.
A tight deadline required some technical hoop-jumping: Mill animators began with unfinished rigs, changed models as they went, while animating over the motion capture. They seamlessly composited CG elements, atmospheric effects and live action. On using the up-to-date motion-captured animatic, compositing supervisor Darren Christie says, ‘On set we used mix and overlay, superimposing animation with live action to get what we needed”

The Making of

Executive Creative Directors: Fred & Farid
Creatives: Michael Zonnenberg, Joseph Dubruque, Nicolas Lautier, Baptiste Clinet
Production Company: Stink / Psyop
Director: Psyop / Todd Mueller & Kylie Matulick
Year: 2007

Print Campaign

Executive Creative Directors: Fred & Farid
Art Supervisors: Feng Huang, Thomas Raillard, Jerome Laan
Art Director: Matthieu Colloud/Nanaë Hassaku/Juliette Lavoix/ Alphée Ballester/Pauline de Montferrand/Olivia Meier/Emmanuelle Durand
Illustrator: Antoine Helbert
Making and Retouching: Julie Poigneau
Year: 2007

Orangina – Giraffa/Hyena (2009)

The Orangina animals is back, but this time they’re a lot less sexy. In a follow up to its sexy animal ad for Orangina Naturally Juicy, Fred & Farid have created two new spots for Orangina Light featuring a giraffe and a hyena in relatively humanised environments. The strap-line reads: “Wickedly Light.”In the first, a giant ‘Giraffe’ in rollerblades and hotpants is seen skating along the beach with two girlfriends when her attention is turned by the sight of a muscular hunk walking passed.  The giraffe quickly alters course, chasing the man down the promenade before biting his bottom.  She then puts him over her shoulder and skates away much to the amusement of her gobsmacked friends.
The second ad features a giant ‘Hyena’ enjoying a drink outside a street cafe with her friends.  When an attractive female passer-by breaks her heel and trips over, the hyena and her pals are sent in to hysterical fits of laughter.  Each spot then closes with the strapline, “Wickedly Light”.

Executive Creative Directors: Fred & Farid
Creatives: Alphee Ballester, Thomas Raillard
Production Company: Big Production
Director: The Terri Timely
Year: 2009

Orangina Variété – Indian/Cowboy (2009)


Creative Directors: Fred and Farid
Directed by Juan Pablo Brockhaus
Produced by The Mill

Orangina Rouge – Panthère (2009)


The new bestial-sado-sexual spot from Fred + Farid Paris for Orangina Red, made with blood oranges. An animated panther-dominatrix chick in a bikini cracks the whip, forcing a pudgy, middle-aged guy to strip down to the Full Monty.

Creative Director : Fred & Farid
Copywriter : Frederic Raillard, Farid Mokart, Florian Bodet, Laurent Leccia, Thomas Raillard
Art Director: Florian Bodet, Laurent Leccia, Thomas Raillard
Post Production : The Mill
Production House : Satellite My Love
Director : Martin Bourboulon

Orangina Cassis & Tropical – Aristo/Rastaman (2010)

Orangina Jaune – Anytime (2010)


The product is so well known in France it does not need to be sold in advertising. Orangina is the only soft drink with 16% of orange juice. 90% of people know the product.  “Anytime” presenting Orangina as the ultimate product for oral, intimate and dental hygiene, taste, sports freshness, laundry linen cleaner and detergent. The creative idea of this film is to parody the traditional advertising and to sell the product for the wrong reasons. It has been so much integrated by the consumers that Orangina was the French’s favourite TV ad after the campaign spread.
The 2010 campaign, following on from the success of the 2007 series, features a giraffe, chameleon, horse, panda, panther, Afghan hound, deer, bear, puma and goat. Naturellement.The campaign won a Gold Film award for Fred & Farid and Gorgeous Enterprises at the 2010 Epica Awards.










The making of

Creative Director : Fred & Farid
Copywriter:Frederic Raillard, Farid Mokart, Florian Bodet, Laurent Leccia, Thomas Raillard
Art Director: Florian Bodet, Laurent Leccia, Thomas Raillard
Production: Gorgeous, London
Post Production: The Mill, London
Director : Tom Carty


Marcel Paris for France 24

France24 International News Chanel – LITTLE BOY/LITTLE GIRL/MONA LISA

A young boy is manufacturing football balls in a sweatshop and starts dreaming he is on a football pitch, being cheered on by the crowd… Before the foreman brings him back to reality.
Speaking enthusiastically, a little girl tells her mum what she has done during the day. But one eventually sees she is speaking to a tombstone in a city that was devastated by war.

Executive Creative Directors: Fred & Farid
Art Directors: Sebastien Piacentini
Copywriters: Gregoire Chalopin
Production Company: WIZZ, Paris, France
Director: Stephane Hamache
Year: 2007

France24 International News Chanel – AFRICA/LEBANON/NUCLEAR

Executive Creative Directors: Fred & Farid
Art Directors: Gregoire Chalopin/Sebastien Piacentini/Tristan Dubois
Copywriters: Gregoire Chalopin/Sebastien Piacentini/Tristan Dubois
Year: 2007

France24 International News Chanel – BEYOND THE NEWS


France 24 goes beyond the news and unveils the machine working behind every important international event.
Creative Directors: Frederic Temin/Anne de Maupeou
Art Director: Dimitri Guerassimov
Copywriter: Eric Jannon
Year: 2007
Silver Lion for the Campaign

France24 Live on iPhone – COUPLE/COPS/SOLDIERS/CRYING WOMAN


Chief Creative Officers: Frederic Temin, Anne De Maupeou
Copywriter: Eric Jannon
Art Directors: Dimitri Guerassimov, Romain Galli
Photographer: Owen Franken/Corbis

France24 on Twitter – BIRDS

We all know the role of social networks and Internet in spreading revolutions in Tunisia, Egypt and Libya.Social networks are now an essential source of information, as evidenced by the results obtained by France24, the French international news channel that broadcasts in three languages (French, English and Arabic).
It’s mainly the Arabic language version that broke all audience records during this period. But the channel as a whole has benefited from an increase in audience : in March 2011, france24.com experienced a peak in traffic with nearly 14 million visits and about 59 million page views.
The channel has also been very successful on Twitter thanks to its intense coverage of the Arab Spring, with a large amount of tweets dedicated to the topic, which enabled the channel to quintuple the number of followers of its Twitter account since the beginning of the year.
Based on these exceptional results, France24 and its agency Marcel have decided to highlight the link between freedom of information and freedom of expression on Internet.

Executive Creative Directors: Anne de Maupeou, Veronique Sels, Sebastien Vacherot
Art Directors: Souen Le Van
Copywriters: Martin Rocaboy
Illustrator/Gadhafi: Marie Morency
Illustrator/Mubarak: Souen Le Van
Illustrator/Ben Ali: KIM Florence Lucas
Production Company: Mr Hyde, Paris, France
Director: Philippe Grammaticopoulos
Music/Artist title: Christophe Juli
Year: 2011
Shortlist

France24 International News in Arabic – HU JINTAO/QUEEN/OBAMA/BILL GATES





France 24, the french international news channel, has been broadcasting its programs in the Middle-East for many years. But until recently, only a few were available in arabic. Since October 12th 2010, all France 24 programs are broadcasted in arabic 24/7.
To promote this, we have created a campaign with several movies broadcasted on France 24 as well as several TV channels in the Middle-East targeting opinion leaders.

Executive Creative Directors: Anne de Maupeou, Veronique Sels
Art Directors: Youri Guarasimov
Copywriters: Gaetan Du Peloux
Production Company: WAM, Paris, France
Director: Alexandre Vivet/Gabriel Malaprade
Year: 2011

France24 Live on iPad and iPod – WHITE HOUSE/10 DOWINING STREET/NUCLEAR


Chief Creative Officers: Frederic Temin, Anne De Maupeou, Sebastian Vacherot
Copywriter: Eric Jannon
Art Directors: Dimitri Guerassimov
Photographer: Corbis
Year: 2011