Advertising by Design (22 Brilliant Ideas)

TBWA/Hunt/Lascaris – We Sent Their Briefs Back




Although TBWA\Hunt\Lascaris is well established as an above-the-line agency, our clients were yet to be introduced to the wealth of talent that TBWA\ Design has to offer. So, to get our clients’ attention, we intercepted existing above-the-line briefs and used the physical advertising brief as our canvas. Instead of answering the brief in a traditional manner, we conceptualized various designs that captured the essence of the brands, then brought them to life using only the cardboard job bags and the briefs that were attached to them. We created intricate pieces of paper art, transforming our client’s briefs into multi-dimensional design pieces. We then sent our clients’ briefs back to them, proving that TBWA\ Design can do amazing things with their briefs. Our campaign was a huge success. The design studio received their first new brief from our client just 5 days later. Even more notably, new design work in the system rose by 450% within the first 6 weeks.

Advertising Agency: TBWA\Hunt\Lascaris, Johannesburg
Executive Creative Directors: Matthew Brink, Adam Livesey
Art Director: Jade Manning
Copywriter: Vincent Osmond
Creative Director: Sacha Traest, Mike Groenewald
Design: Sacha Traest, Leigh-anne Salonika, Katleho Mofolo, Graeme Van Jaarsveld, Ilze Venter, jason Fieldgate
Typographer: Hazel Buchan
Photographer: Graeme Borchers, Des Ellis
Year: 2013


Coca-Cola – Sharing Can



Advertising Agency: Ogilvy & Mather, Paris/Ogilvy & Mather, Singapore
Chief Creative Officer: Chris Garbutt, Eugene Cheong,
Creative Director: David Raichman, Frederic Levron, Yvan Hiot
Copywriter: Xiao An Cheng
Designer: Martin Olivier, Olivier Brechon
Technical Partner : Capital Innovation
Year: 2013


Land Rover – The Escape Key


Jaguar Land Rover MENA is promoting the Land Rover LR4 with “The Land Rover Escape Key”, a small icon designed to replace the ESC key on desktop computer. Sent out in three batches of 800 pieces, the keys are designed to remind people at the office that there’s way to escape the every day routine of indoor business. Test driving a Land Rover LR4 is the way to find life beyond the office cubicle. The number of queries almost tripled and test drives are up by 208%.

Advertising Agency: Y&R MENA
Chief Creative Officer: Shahir Zag
Creative Director: Joseph Bihag, William Mathovani
Year: 2013


Kit Kat – The Pillow Book


Advertising Agency: JWT, Sao Paulo, Brazil
CCO: Ricardo John
Art Director: Brunno Cortez
Copywriter: Erick Mendonça
Creative Director: Ricardo John
Year: 2013


Marionnaud – Memory Game


Marionnaud, one of Europe’s largest perfume retailers, celebrated “10 years’ expertise in fragrance”. For the jubilee we created a very special staff incentive: the first Memory game without pictures. The cards had been finished with a fragrance coating. When rubbed, the cards released the scent of ingredients used in perfume manufacture. Rub and sniff: that was the only way to identify the pairs – but no problem for Marionnaud professionals.

Advertising Agency: Wirz/BBDO, Zurich
Executive Creative Director: Philipp Skrabal
Art Director: Barbara Hartmann
Copywriter: Marietta Mügge


FIAT – Hero Hug


Advertising Agency: Leo Burnett, São Paulo
Chief Creative Officer: Marcelo Reis
Executive Creative Director: Guilherme Jahara
Creative Director: Rodrigo Jatene
Copywriter: Caio Lekecinskas
Art Director: Rafa Oliveira


Domino’s Pizza – Domino’s Pizza Disc


Advertising Agency: Artplan, Sao Paulo
Executive Creative Director: Roberto Vilhena
Creative Director: Rodrigo Moraes
Copywriter: Tiago Trindade, Rodrigo Sanches
Art Director: Diogo Barbosa, Guilherme Grotti
Graphic Production: Bruno Werner


Megaman – Light Bulb Calendar


Advertising Agency: Grabarz und Partner, Germany
Executive Creative Director: Ralf Heuel
Creative Director: Andre Price, Jan-Florian Ege
Art Director: Andre Price, Jana Mehrgardt, Jan Riggert
Designer: Sönke Jansen


Heineken – First Interactive Bottle



Heineken embraces the start-up culture of experimentation because it knows that invention never sleeps. The brand understands that the best ‘user experiences’ tap into existing consumer behaviors and push technology into the background.

The intent of the Heineken Ignite project was to develop an idea that would create a memorable Heineken experience unlocking the power and possibilities of mobile innovation and technology.

Heineken believes that mobile innovation could offer a much more rewarding experience than just an app and embraced the challenge to think about how the product could be leveraged as an interface to the brand experience.

A prototype of Heineken Ignite will be revealed on 9 April at Milan Design Week as part of Heineken’s Lounge of the Future concept. Heineken takes its promise to “open your world” even further with the Heineken Ignite project, enhancing the organic way in which the product is used based on social interaction between beer drinkers. This innovative approach lets people be a part of the party in a whole new way and opens up possibilities in social situations.

Advertising Agency: Tribal DDB, Amsterdam


3M Earplugs – Volume Pack


The task was to develop an original promotional packaging solution that immediately conveyed the product value of 3M’s Solar Earplugs – a product targeted at end users frequently requiring effective noise protection (such as musicians and festival-goers). Solution: 3M turned the purpose of the earplugs – to reduce noise – into an original package design. The container’s cap looks like the volume knob of a hi-fi system; when opening it to reach the earplugs, one seems to be turning down the volume.

Advertising Agency: Scholz & Friends, Germany
Chief Creative Officer: Martin Pross
Executive Creative Director: Matthias Spaetgens
Creative Direction: Robert Krause, Wolf Schneider
Copy: Nils Tscharnke
Art Direction: Sebastian Frese, Ralf Schroeder


Deutsche Bank – Anamorphic Mirror



Brief Explanation
The vestibule is a narrow room of 25sqm strongly limiting the possible size of the installation. Therefore, we decided to utilise light for a radiant impact, and to expand the process of reception by making use of the visitors’ movement while approaching the area via a short staircase. Going upstairs becomes part of the experience as visitors gain increasing insights to the entry with the installation. Its concept is based on the principle of anamorphosis: what you see alters as you change your position in space. The image only fully resolves itself when seen from a particular ‘sweet spot’.

Describe the brief from the client
The redesigned corporate headquarters of Deutsche Bank in Frankfurt am Main are now housing a brand and conference area. Parts of this section are public and can be accessed directly from the spacious atrium via a staircase. Deutsche Bank commissioned us to develop an installation that references the well-known company logo, originally designed by Anton Stankowski, for the vestibule of this area. The brief was to provide an atmospheric element that would be visible to customers, visitors and employees standing at reception, as well as on the bridge connecting the building’s 2 towers.

Description of how you arrived at the final design
‘Anamorphic Mirror’ consists of a faceted mirror and blue light projected onto the opposite wall. When viewed from the ‘sweet spot’ the mirror reflects the Bank’s logo. Standing at the bottom of the stairs, visitors see seemingly random blue reflections on the mirror’s facets. As they get closer, the blue reflections begin to take shape, until they resolve into the bank’s logo upon the visitors’ reaching the stairs’ top. In this manner, an animation is created from a static surface. While getting even closer to entering the conference area, visitors are themselves reflected in the mirror and thus take centre stage.

Indication of how successful the outcome was in the market:
Since the opening on April 6 more than 20,000 visitors came to see the public part of the brand area. Board members use the overall facilities to hold receptions, functions such as HR are using it for employee activities, bank managers invite partners and clients, the press department welcomes journalists. With unobtrusive means, the dynamic and yet poetic installation ‘Anamorphic Mirror’ creates an atmospheric element with space-encompassing impact, and attunes visitors to the brand from the very beginning.

Advertising Agency: ART+COM in Cooperation with COORDINATION, Berlin
Executive Creative Director: Joachim Sauter
Designer: Simon Häcker
Project Manager: Gert Monath
Senior Art Director: Eva Offenberg
Year: 2013


The Hälssen & Lyon – The Tea Calendar




The Hälssen & Lyon tea calendar is the first calendar in the world to feature calendar days made from tea leaves. Finely flavoured and pressed until wafer-thin, the 365 calendar days can be individually detached and brewed directly in the cup with hot water. The tea calendar was sent exclusively to selected business partners.

Advertising Agency: Kolle Rebbe, Hamburg
Executive Creative Director: Sascha Hanke
Creative Director: Heiko Schmidt and Kay Eichner
Creative: Patrick Schroeder, Julia Meissner
Year: 2013
Gold Lion


Hot Wheels – Don’t Drink and Drive Key Chains


Advertising Agency: Ogilvy, Mumbai, India
National Creative Directors: Abhijit Avasthi, Rajiv Rao
Senior Creative Director: Amitabh Agnihotri, Sameer Sojwal
Creative Group Head: Yogesh Pradhan
Year: 2012

Greenpeace – Do Not Disturb


Advertising Agency: AlmapBBDO, São Paulo, Brazil
Chief Creative Officer: Marcello Serpa
Executive Creative Director: Marcello Serpa
Creative Director: Luiz Sanches
Art Director: Caio Tezoto
Year: 2012


Coca-Cola FM – Magazine Amplifier



The piece consists in an exclusive insert for subscribers of the latest edition of the Capricho magazine which was created by JWT. Attached to the cover, the art allows readers to turn the magazine into an amplifier. Simply by rolling the magazine and inserting the iPhone tuned into the Coca-Cola FM application in the spot indicated. The final format allows the sound waves to travel in two different directions at the same time, intensifying the stereo effect created by the device. The next step is to enjoy the music.

Advertising Agency: JWT, Brazil
Year: 2012


Red Bull – Portable Charger


We created Redbull-shaped portable charger. This Redbull-shaped charger will show its own recharging screen when they fit into the gadget And the mobile webpage of Redbull will be on the screen when it is unlocked.

Advertising Agency: Hallym University, Cheonan-si, South Korea
Copywriter: Heejo Sun, Dongkyun Yu
Art Director: Minseok Go
Year: 2012


Land Rover – Edible Survival Guide

LR Eat Book

While Land Rover vehicles can take on any obstacles in the desert, it cannot be said the same of their owners. Scorching temperatures, deadly animals and sinkholes are just a few things they might encounter. And when they venture deep into it, even the most experienced drivers can quickly succumb to the harshness of the desert. We wanted to create something that would cut through the clutter and that these people would like to keep. So we created a survival guide, which explained the basics for staying alive in the Arabian Desert, and packaged it in a way that would spur the attention of our target audience.

We researched every indigenous animal and plant, people could encounter in the Arabian Desert and how they could be used to survive. We studied the topography of the region to guide people to safety. We used a reflective packaging similar to army rations, which could be used to signal for help, and bound the book with a metal spiral, which could be used for cooking. Finally, we even took an extra step so that in case of emergency, people could always EAT the book. It was made out of edible ink and paper, and it had a nutritional value close to that of a cheeseburger.

We sent the book to 5,000 existing customers, gave it away as a supplement to the cars’ manual and made it freely available in sports shops. The initial response was very positive. And the client was so happy with the concept that they asked us to include the book as an insert in the next edition of a car magazine, with a 70,000 circulation.

Advertising Agency: Y&R, Dubai, UAE
Chief Creative Officer: Shahir Zag
Creative Director/Copywriter: Shahir Zag
Creative Director/Art Director/Illustrator: Joseph Bihag
Copywriter: Guillaume Calmelet
Designer/Copywriter: Khaled Said
Year: 2012


IBM – Outdoor as Utility





Advertising Agency: Ogilvy France


Ricola – Ricola Music Edition





Ricola, a brand of cough drops and breath mints in Switzerland, is known for its traditional blend of thirteen natural herbs. The provision of instant relief, even to the most strained throats, is visualised with the help of the wrapping paper. The Music Edition, an illustrated release, turns the drops into the heads of suffering singers. Each and every throat appears to be constricted. However, when you unwrap a bonbon, the throat is relieved and all hoarseness disappears. Print advertising presented the five characters: Rockabilly, Pop star, Opera singer, Rapper and Punk Rocker, with the tag line, “Unwrap your voice”. The project won Gold for Package Design at the London International Awards this week.

Advertising Agency: Jung von Matt, Hamburg


Camp Nectar – Fruit Boxes (Made from Real Fruit)






General Brands in Brazil ran a two-year experimental campaign in which fruit was grown in the shape of Camp Nectar fruit boxes to promote the claim, “Made from Real Fruit”. Customized juice box molds were placed around growing fruit on an orchard in Paranapanema, producing 1,123 oranges, lemons, guavas and passion fruit with the Camp Nectar box shape. The specially designed fruit, complete with brand imprint, straw and carton flaps, were placed in supermarkets and fairs to promote the juice range. The campaign won a Gold Outdoor Lion, a Bronze Direct Lion, a Silver and Bronze Promo & Activation Lion.

Advertising Agency: Age Isobar, Sao Paulo


Sweet Enough – The Candy Room








Sweet Enough, an importer of sugar free candy products in Australia, has set up The Candy Room, a store in Melbourne designed to draw out the inner child in customers, connecting them with childhood, fantasy and fiction and of course, sweets. Black line artwork is applied on white space, supplemented with the bright colours of the sweets throughout the store.

Advertising Agency: Red Design Group


Oreo – Oreo Crumb Case





Miami Ad School students have developed a tea bag enclosure for Oreo cookie crumbs to infuse milk with Oreo flavor. The Oreo Crumb Case, developed as a student project, could go a long way. Just shake together all the crumbs left in the Oreo packet, sprinkle them into the Crumb Case, and infuse the crumbs in your tumbler of milk.

Advertising Agency: Miami Ad School

Cannes Alternative Grand Prix (2001/2011)

Grand Prix 2001 – FOX Regional Sports (Turkey/China/Russia/India)

A Turkish sports reporter is at a cliff-diving tournament. A diver jumps off a steep cliff, goes into a ‘swan dive’ and lands on dirt. Turkish peasants clap politely. Super: Sports news from the only region you care about. Yours. Fox Sports Net.

A Chinese sports reporter is showing highlights of a ‘tree catching’ competition. We see two lumberjacks chop down a giant 200-ft tree for an athlete to catch. He is not successful. Super: Sports news from the only region you care about. Yours. Fox Sports Net.

A Russian sports reporter is covering a ‘slapping contest’ in a smokey, seedy bunker. Two large men take turns slapping each other in the face. Suddenly, an impressive slap causes the drunken crowd to erupt. Super: Sports news from the only region you care about. Yours. Fox Sports Net.

The host of a Mumbai sports show is interviewing the National Clubbing Champion. Two blindfolded men chase each other with clubs in front of a large crowd. They swing wildly at each other … but miss. Then one loses his bearings and starts pounding a gentleman in the crowd. Super: Sports news from the only region you care about. Yours. Fox Sports Net.

Advertising Agency: Cliff Freeman and Partners, USA
Creative Director: Eric Silver
Copywriter: Dan Morales
Art Director: Rossana Bardales
Production Company: Partizan NY
Director: Traktor

Alternative Grand Prix – John West (Bear)

At a river, a man fights a bear for a salmon. Voiceover: John West endure the worst to bring you the best. Super: John West Red Salmon.

Advertising Agency: Leo Burnett UK
Creative Director: Mark Tutssel
Copywriter: Paul Silburn
Art Director: Paul Silburn
Production Company: Spectre UK
Director: Daniel Kleinman


Grand Prix 2002 – Nike (Tag)

A young man is tagged in an elaborate game, involving the entire city. He races off to tag someone else, and they elude him to the very end.

Advertising Agency: Wieden + Kennedy, USA
Creative Director: Dan Wieden, Hal Curtis, Jim Riswold
Art Director: Monica Taylor, Andy Fackrell
Director: Frank Budgen

Alternative Grand Prix – Levis (Odyssey)

A man and a woman hurtle through a string of solid walls. They crash out of the building, land on a tree, and run up it into the night sky.

Advertising Agency: BBH, UK
Creative Director: Stephen Butler
Art Director: Gavin Lester
Production Company: Academy, UK
Director: Jonathan Glazer


Grand Prix 2003 – IKEA (Lamp)

An old lamp is thrown out to make way for a new one from Ikea.

Advertising Agency: Crispin Porter + Bogusky, USA
Creative Director: Alex Bogusky, Paul Keister
Art Director: Mark Taylor, Steve Mapp
Copywriter: Ari Merkin
Production Company: MJZ, Los Angeles
Director: Spike Jonze

Alternative Grand Prix – Honda (Cog)

Cog is a two-minute chain reaction using only parts from a Honda Accord. Each car part cleverly triggers off the next, showing the beauty and precision of the pieces, and the ingenuity of the engineers who built it, prompting the V/O to comment “Isn’t it nice when things just work?”.

Advertising Agency: Weiden + Kennedy, London
Creative Director: Tony Davidson, Kim Papworth
Art Director: Matt Gooden
Copywriter: Ben Walker
Production Company: Partizan, London
Director: Antoine Bardou-Jacquet


Grand Prix 2004 – Playstation 2 (Mountain)

Hundreds of thousands of people are forming a human mountain higher than any of the other buildings in the city. At it’s zenith a variety of people enjoy a moment of exhilaration before others scramble over them and take their place.

Advertising Agency: TBWA/London
Creative Director: Trevor Beattie
Art Director: Tony McTear
Copywriter: Paula Marcantonio, Tony McTear
Production Company: Gorgeous Enterprises, UK
Director: Frank Budgen

Alternative Grand Prix – Lynx 24-7 (Getting Dressed)

A man and woman wake up in bed. They start getting dressed. We soon discover that their clothes are scattered right across the city. The last shoe sits by two opposite-facing shopping trolleys in a supermarket. The couple met there only hours ago. The man was wearing Lynx 24/7 bodyspray.

Advertising Agency: BBH, UK
Creative Director: Rosie Arnold
Art Director: Nick Gill
Copywriter: Nick Gill
Production Company: Small Family Business, UK
Director: Ringan Ledwidge


Grand Prix 2005 – Honda (Grrr)

Can hate be a good thing? Honda ‘Grrr’ sets out to prove just that. A tranquil world is invaded by flying, dirty old Diesel engines. However, the population get angry and even, using their hate for the better, destroying every last one. Finally, they herald the brand new Honda Diesel.

Advertising Agency: Weiden + Kennedy, London
Creative Director: Tony Davidson, Kim Papworth, Chris O’reilly
Art Director: Sean Thompson, Michael Russoff, Richard Russell
Copywriter: Sean Thompson, Michael Russoff, Richard Russell
Production Company: Nexus Production, London
Director: Adam Foulkes, Alan Smith

Alternative Grand Prix – Adidas (Hello Tomorrow)

Adidas 1 is the first shoe with a computer. “Hello Tomorrow” demonstrates that with every step these magical shoes can create an entirely new world out of nothing. It is a story of rebirth and
taking your first steps – again.

Advertising Agency: TBWA/Chiat/Day, San Francisco
Creative Director: Lee Clow, Chuck McBride, Joe Kayser
Art Director: Joe Kayser
Copywriter: Chuck McBride
Production Company: MJZ, Los Angeles
Director: Spike Jonze


Grand Prix 2006 – Guinness (Noitulove)

Three young men at a bar drink Guinness. Suddenly the action pauses and the film starts to play in reverse. The men walk backwards out of the bar. As they walk they seamlessly go back down the evolutionary chain through hundreds, thousands, millions of years. Super: GUINNESS. Good things come to those who wait.

Advertising Agency: Abbott, Mead, Vickers, BBDO, UK
Creative Director: Paul Brazier
Art Director: Matt Doman
Copywriter: Ian Heartfield
Production Company: Kleinman Productions, London
Director: Danny Kleinman

Alternative Grand Prix – Sony (Balls)

Dropping 250,000 brightly coloured bouncy balls down the streets of San Francisco for real = colour like no other.

Advertising Agency: Fallon London
Creative Director: Richard Flintman
Art Director: Juan Cabral
Copywriter: Juan Cabral
Production Company: MJZ, London
Director: Nicolai Fuglsig


Grand Prix 2007 – Dove (Evolution)

We created a film that exposed the manipulation of the female image in the media. The objective was to encourage discussion around the subject of real beauty and lead people to the campaignforrealbeauty website.”

Advertising Agency: Ogilvy & Mother Toronto
Creative Director: Janet Kestin, Nancy Vonk
Art Director: Tim Piper, Mike Kirkland
Copywriter: Tim Piper
Production Company: Reginald Pike, Toronto
Director: Yael Staav, Tim Piper

Alternative Grand Prix – Epuron (Power of Wind)

Wind has a strong nature. Better keep him busy…

Advertising Agency: Nordpol + Hamburg, Germany
Creative Director: Lars Ruehmann
Art Director: Bjoern Ruehmann, Joakim Reveman
Copywriter: Matthew Branning
Production Company: Paranoid Projects, USA
Director: The Vikings


Grand Prix 2008 – Cadbury (Gorilla)/Microsoft (Halo 3 Campaign)

We hear ‘In the air tonight’ by Phil Collins as we realize we’re in front of a calm looking gorilla. ‘I’ve been waiting for this moment for all of my life…’ The ape stretches its neck like a heavyweight boxer would do before a fight. He’s sitting in front of a massive drum kit as the best drum fill of the history of rock is coming. The Gorilla knows this. He smashes the drums phenomenally – feeling every beat. The camera leaves the ape and his drum. United, the way they are meant to be.

Advertising Agency: Fallon London
Creative Director: Richard Flinthan, Juan Cabral
Art Director: Juan Cabral
Copywriter: Juan Cabral
Production Company: Blink, London
Director: Juan Cabral

On-line, the Halo 3 website served as a virtual museum, providing an interactive fly through of the entire John 117 monument and putting visitors right in the middle of the fight. They could also learn more about our enemies and hear first hand stories from the men who were there. For that we filmed interviews with surviving veterans of the battle who served with Master Chief. They talked about their experiences and spoke with reverence and awe about what it was like to serve with mankind’s greatest hero.

Advertising Agency: T.A.G. San Francisco/McCann Worldgroup
Creative Director: Geoff Edwars, Scott Duchon
Art Director: Ben Wolan
Copywriter: Rich Herrera
Production Company: Go Film, Hollywood/RSA Films Los Angeles
Director: Simon McQuoid, Rupert Sanders, Neil Blomkamp

Alternative Grand Prix – Nike (Next Level)

“Next Level” is new take on Football from Nike. Made to inspire football obsessed teens, the film is a first-person journey up the football ranks–from being discovered by Arsenal in a youth match to a life-defining moment playing for our national side. Along the way we experience success (finishing a cross from Cesc Fabregas) as well as frustration (getting burned by Ronaldinho). The film celebrates playing the game with purpose and passion. It shows what it takes to become a modern, brilliant fofotballer – to take your game to the next level.

Advertising Agency: 72 And Sunny, USA
Creative Director: Glen Cole, John Boiler, Bryan Rowles, Jason Norcross
Production Company: Anonymous Content, USA
Director: Guy Ritchie


Grand Prix 2009 – Philips (Carousel)

Philips set out to own the idea of a cinematic viewing experience at home. From the start the strategy was to create a film that movie lovers would want to see.

The film is hosted within a site that, through interaction, educates the audience about the three main features of Philips televisions – Ambilight, Cinema 21:9 and Picture Quality – and ties these features to the act of film making. So, what would movie lovers want to see? We decided on a seamless tracking shot, one long take that a film loving audience could marvel at and be fascinated by. Within the ‘housing’ of a tracking shot we inserted behind the scenes glimpses where the experts could talk about their craft and the decisions they made whilst filming the shot. The DOP on lighting, the Director on the 21:9 format and VFX supervisor shows why picture quality is so important. To allow for more interaction, we decided that a frozen time film, shot using a state of the art motion control rig, would give the audience control upon interaction allowing them to literally move the camera back and forth frame by frame. This is done intuitively through a ‘grabbing hand’ cursor when the screen is moused over.

What makes this interaction really special is the interactive cinematic score. The score, composed by Michael Fakesch, was composed as a linear piece, but was then handed over to a flash music developer to carve up and distort as the user moved back and forth through time, frame by frame – all designed to pull the audience in and hold them there longer whilst they try to unravel the mystery of how the film was made.

The second main element of interaction is the way the audience is able to trigger the three behind-the-scenes educational scenes from the film’s timeline. When the user clicks on the timeline, they reveal films within the film. The timeline unfolds and expands, the post production disappears, each expert walks in and the rigging reappears revealing that all along the actors were simply holding their position whilst a state of the art motion rig captured them in frozen time. All this was designed to be as seamless as possible with maximum visual reward ensuring the audience clicked all three of the hotspots.

In addition to the interaction within the film, the ratio of the film itself could be changed at anytime through first person interaction. This simple, but effective comparison tool really did get across the spectacle of the new Philips 21:9 TV. The other elegantly simple piece of interaction is Ambilight on and off, in the words of the DOP – “you really miss it when it’s not there.”  A final point worth noting is the dynamic title sequence. Instead of a traditional loader, we crafted a title sequence correspond to the speed of the users internet connection. The slower the connection, the longer the sequence.

Advertising Agency: Tribal DDB Amsterdam
Creative Director: Michael Fakesch, Chris Baylis, Andrew Ferguson
Art Director: Mariota Essery, Maximilliano Chanan
Copywriter: Carla Madden
Production Company: Stink Digital, London
Director: Adam Berg

Alternative Grand Prix – T-Mobile (Dance)

On 15th January at 11am, a single commuter started dancing in the middle of a train station. The dance grew as more dancers joined in, until there were over 300 people perfectly choreographed. The excitement caused hundred’s of genuine unsuspecting members of the public to join in and share the moment.

Advertising Agency: Saatchi & Saatchi, London
Creative Director: Paul Silburn, Kate Stanners
Art Director: Rick Dodds
Copywriter: Stephen Howell
Production Company: Partizan, London
Director: Michael Gracey


Grand Prix 2010 – Old Spice (The Men Your Man Could Smell Like)

This TV commercial was created to appeal to men as well as women, showing them both how great a man can smell when they use Old Spice Body Wash.

Advertising Agency: Wieden + Kennedy, Portland
Creative Director: Mark Fitzloff, Susan Hoffman
Art Director: Craig Allen, Eric Kallman
Copywriter: Craig Allen, Eric Kallmacanal
Production Company: MJZ, Los Angeles
Director: Tom Kuntz

Alternative Grand Prix – Canal + (Closet)

Canal+ launched its new ‘Original Creativity’ campaign in September 2009. The objective highlight to Canal+’s showcase of original programming, consisting of series, documentaries and fictions, created exclusively by and for Canal+, scripted by prestigious writers such as Olivier Marchal and Jean- Hugues Anglade. To launch this new campaign, we produced THE CLOSET. The film unites quality, humour, originality and a touch of impertinence inherent to the brand’s communications: ‘Never underestimate the power of a great story”

Advertising Agency: BETC EURO RSCG, Paris
Creative Director: Stephane Xiberras
Art Director: Eric Astorgue
Copywriter: Jean Christophe Royer
Production Soixan7e Quin5e, Paris
Director: Matthijs van Heijningen


Grand Prix 2011 – Nike (Write the Future)

Every four years, the keys to football heaven are dangled in front of the international elite. One goal, one pass, one game saving tackle can be the difference between fame and forgotten. What happens on the pitch in that split second has a ripple effect that goes beyond the match and the tournament.
‘Write the Future’ was a messaging platform that allowed Nike to show how football creates this ripple effect. It allowed us to give a glimpse into the future to see what the players were really playing for, in their own lives and the lives of those that follow them. Our goal was to weave the brand into the conversations around this major tournament in a way that celebrated the participating teams and athletes and engaged football fans around the world.

Advertising Agency: Wieden + Kennedy, Amsterdam
Creative Director: Jeff Kling, Mark Bernath, Eric Quennoy
Art Director: Stuart Harkness, Freddie Powell
Copywriter: Stuart Harkness, Freddie Powell
Production Company: Independent Films, London
Director: Alejandro Gonzales Inarritu

Alternative Grand Prix – Volkswagen (The Force)/Crysler (Born of Fire)

For the all-new 2012 Passat , Volkswagen brings Star Wars™ to one of TV’s most talked about events. Accompanied by John Williams’ iconic “The Imperial March,” the spot features the most infamous villain in the galaxy, a pint-sized Darth Vader who uses the Force when he discovers the all-new 2012 Passat in the driveway. The two iconic brands leverage humor and the unforgettable Star Wars score to create an emotional spot and make Super Bowl ad history.

Advertising Agency: Deutsch, Los Angeles
Creative Director: Eric Springer, Michael Kadin
Art Director: Ryan Mclaughlin, Craig Melchiano
Copywriter: David Povill
Production Park Pictures, Santa Monica
Director: Lance Acord

Of the big three American car companies, Chrysler was in the most danger of failing. Had there not been a last-minute vote of confidence from the U.S. Government, they would not exist. This was public knowledge, debated throughout the country—should we have loaned Chrysler the money?  When it came time to introduce a new product, we had a car to sell and also had to win back America’s confidence. To do this, we took the unlikely position of embracing Chrysler’s Detroit heritage when every other American car company was distancing themselves from the city.  We created a 2-minute homage to Detroit, a city primed for a comeback, and ran the spot only once, on Super Bowl Sunday.

Advertising Agency: Weiden + Kennedy Portland
Creative Director: Mark Fitzloff, Susan Hoffman, Aaron Allen
Art Director: Jim Lasser
Copywriter: Mark Fitzloff, Joe Staples, Kevin Jones, Greg Rutter, Dan Kroeger
Production: Serial Pictures, Culver City
Director: Samuel Bayer

Coke Zero – Make It Possible Project

 “I view every single member of our community as a marketing director for the Coke Zero brand,” 
Jonathan Mildenhall, VP of Global Advertising Strategy and Creative Excellence at Coca-Cola

Coke Zero is out to create an international dance craze–and remake its marketing process– via the Make It Possible Project,  a campaign that came together organically over the course of several months with input from Coke fans around the world.

Eschewing the traditional advertising model, the brand instead used its storytelling platform to experiment with content creation relying on public participation: “Consumers can see through these marketing platforms, so why not genuinely bring them into the process so they’re part of the marketing community?” says Jonathan Mildenhall, VP of Global Advertising Strategy and Creative Excellence at Coca-Cola, stressing, “I view every single [member] of our community as a marketing director for the Coke Zero brand.”

This worldwide network of marketing directors got to work late last summer on a campaign orchestrated by Coke agency Ogilvy Paris. The project kicked off when director Jon M. Chu, creator of The Legion of Extraordinary Dancers web series, went online at Coke Zero’s behest to announce that the soft drink was on the lookout for a hot new original dance (Mildenhall was actually inspired to make dance the central theme of the project after a chance meeting with Chu at the Consumer Electronics Show in Las Vegas last year).

Choreographers and dancers of all experience levels were invited to upload videos to showing off their best moves, and as the submissions came in from around the world, Chu as well as members of The Legion of Extraordinary Dancers provided encouragement through video messages. Meanwhile, the Make It Possible Project community liked, shared, and debated the merits of the dances. In the end, it was the Toe Tappy, a side-to-side toe-tapping dance created by American street dancer Joey “Knucklehead” Turman that won Coke Zero’s interest.

Convinced that the Toe Tappy had the potential to catch on, Coke Zero then initiated a casting call, reaching out to its online community in search of a performer who could bring the dance to life as the star of a global ad campaign. Again, anyone could apply. “At every stage of the creative development process, we were helping members of our target audience realize their ‘what’s possible,’” Mildenhall says, noting that a group of finalists from the community were flown to Los Angeles, where they were photographed for an out-of-home campaign–think everything from posters to in-store displays–and provided with behind-the-scenes video to share through their social networks.

Keemo, an actor and dancer from France, ultimately became the face of the campaign, winning the lead role in “A Step from Zero,” a web film that broke today on Coke Zero’s YouTube channel Directed by Nima Nourizadeh out of production company Partizan in Buenos Aires (Coke also worked with Stink Digital for interactive components and Opus 88 on out of home) and featuring a track titled “I’m All In” by up-and-coming rapper Metis, the film casts Keemo playing a young man whose family doesn’t support his ambition of becoming a professional dancer. He eventually wins their approval after he creates a dance–the Toe Tappy–that spreads all over the world thanks to the Internet. (The web film was also cut into 60- and 30-second commercials.)

The narrative is loosely based on Knucklehead’s personal story, which is shared in more detail on the Make It Possible Project site through a short documentary-style film. It provides a raw portrait of a young man who survives a rough childhood and makes his way to a better life through dance. Knucklehead, who, incidentally, competed on MTV’s America’s Best Dance Crew with Street Kingdom, is also featured on the site in a series of videos that show him traveling the world, from Japan to New Zealand, teaching people the Toe Tappy, and he also got people buzzing about his dance via social media.

The young influencers who make up the Make It Possible Project community have shown great interest in the aforementioned content. In fact, according to data culled from the site, visitors spent an average of six minutes on during the content creation portion of the campaign, with peaks running as high as nine minutes.

Given the success of the endeavor in terms of engagement, Coke Zero is now looking to take consumers on additional creative journeys via the Make It Possible Project, giving them an opportunity to pursue their own passions and play a role in shaping and sharing the marketing messages aimed at them. “You can rest assured that the next tale of possibility will have a ringleader like Jon Chu, we’ll activate the community, we’ll source authenticity from a community of believers as we go through the process, and hopefully, we’ll realize the dreams of several people,” Mildenhall says.

The approach confirms Coca-Cola’s commitment to its content 2020 manifesto which outlined a long-term, company-wide marketing plan that is less reliant on traditional advertising and more invested in generating content that can flow through any medium while reinforcing the company’s business objectives.

“For Coke Zero, I never want to go back to a traditional hidden creative development process,” Mildenhall says. “I always want to engage with the community in helping us find the talent and find the stories and find the creative elements. It’s just so much more rewarding.”

Behind the Scene

Advertising Agency: Ogilvy Paris
Year: 2012

IKEA – The Smallest IKEA Store in the World

To demonstrate how there’s always a solution for furnishing restricted living space, IKEA came up with a pretty original idea by creating the smallest virtual store in world. Motivated by the increase of limited living spaces, they built an entire IKEA store, that contains 2,800 products, in a 300 x 250 pixel web banner.

The campaign, made by a Dubai-based agency Ogilvy Action, is aimed towards people looking for studio flats as well as one/two bedroom apartments. The banner is placed in real estate sections of community websites.The virtual shop allows customers to browse by department, choose and buy any of the displayed products.

It’s a digital stunt, of course, meant to play upon IKEA’s tradition of space-saving designs. Users can mouse—very carefully—over the ad’s five segments for seats, beds, lamps, accessories and miscellaneous to find the icon of an item, then click on it to bring up a product page, read a description and place an online order.

Advertising Agency: Ogilvy Action, Dubai
Creative Director: Ben Knight
Art Director: Gary Rolf
Copywriter: Gary Rolf, Sascha Kuntze, James Bisset
Graphic Design: Gary Rolf
Year: 2012

Coca-Cola/Copa America 2011 – Cheer-o-Meter

This new initiative of Coca Cola -developed by Ogilvy Action- was launched during an event where over 500 people enjoyed the match Argentina vs. Colombia, all non-stop encouraging in order to keep watching the TV screen on.

With the unconditional support as the main feature of Argentine fans, created the first giant screen that works only with people’s breath for the parties of the national team. As the public speech during the meeting, a “Cheer-o-meter” connected to a giant screen, reflects the intensity of breath and regulates the visibility of the screen that broadcasts the game live. Thus, the more encouraged the fans, the more visibility you have and the less encouraging, the screen begins to fade.
The action was developed from the concept of “Always refresh your breath,” the message that the brand is pursuing various initiatives to be present along with the fans and encourage the selection.

Advertising Agency: Ogilvy, Buenos Aires
General Creative Directors: Javier Mentasti, Maximiliano Maddalena, Silvio Panizza
Creative Directors: Rodrigo Isaia – Alejandro Garone
Production Company: Awards Cine
Director: Matías Goldberg
Year: 2012

Ogilvy France for Perrier – Dita Von Teese Mansion (a sexy case study)

Complete Internet Experience 

Insights, Strategy & the Idea
Perrier has always been a brand that works with two dimensions. From a rational side, its historical promise of extreme refreshment. From a more emotional one, its “hype” personality. The last years, the emotional side was a bit forgotten and Perrier started to be disconnected with a younger target. Perrier launched in 2010 a limited edition with Dita Von Teese to accelerate sales, make the brand sexy again and recruit younger consumers.

Plenty of limited editions are launched every year in the category, the challenge was to reinvent this very classic exercise.
Through, Perrier immersed younger consumers in an interactive, transgressive and addictive experience. With all the material done to drive to (Foursquare/Twitter invitation, Facebook Connect…) and the content of the site itself (awesome gaming experiences), the site became as magnetic as the brand itself for bloggers, medias, or consumers who talked a lot about it.

Creative Execution
The Perrier Mansion is a fully interactive video-website that immerses the web-user in a sensual and intimate universe. Gliding into various rooms of this virtual place, the web-user is invited to follow Dita Von Teese and play seduction games. The first part launched last July has been enriched in December by a second chapter where the web user witness a new show of Dita : a glamorous striptease that can be seen until the end only by triumphing over other web-users. A display media campaign was implemented in July 2010 for the first chapter while in December, the launch of the chapter 2 has been carried out by bloggers and web- users.
To support the website, Perrier offered to smartphone users, a unique mobile experience by developing one of the first i-Ad in Europe. The application allowed them to experience the show into the palm of their hands.

Results and Effectiveness
– More than 800,000 unique visitors.
– 6 minutes spent on average on the website.
– 1,5 million video views on YouTube.
– More than 4,000 media and blog fall out
– Over 30000 fans on Facebook.
– +7 pts image on the « trendy » and « modern » items

The iAd generated an extraordinary level of engagement:
– Time spent on the iAd above 2 min which is 2 times the iAd average.
– A click rate of 1.85% which is 10 time the average click rate on traditional web-banners

Ogilvy Paris Speaks Out on Apple’s iAd – (from Ogilvy Entertainment Blog)

It’s been six months since Steve Jobs announced he will revolutionize the ad industry through his new mobile ad format iAd, Apple’s bold bid to create a market for mobile ads that don’t, in his words, “suck”. With one super ambitious goal: Make people love advertising again. Six months later a lot of questions are being raised.

Does Apple’s iAd have the ability to revolutionize the ad industry as iTunes did with music and iPhone has done with the Telco industry?  What are the early adopters saying?  Ogilvy Paris speaks out as one of the first users of iAd in Europe for their infamous Perrier by Dita. We sat down with Frederic Levron, Head of Digital Branded Content at Ogilvy Paris.

Tell us the reason why you recommended to your Perrier client to be one of the first to seize upon Apple’s iAd launch in Europe?

The Apple team came to us to introduce iAd two months before its European launch.  We were super excited to discover what the Apple team was capable of doing in our industry and even more excited because we had in mind Apple’s belief that iAd would make people love advertising again. With this, we got ten of our best Brands together in a room (IBM, Nestle, Perrier, Louis Vuitton etc…) to hear Apple’s pitch. To be part of the first European round you had one week to put 1 million euros on the table for iAd. Because of the investment and because of what Apple represents to Marketers/Advertisers, the expectation was higher than ever.  But, five reasons ultimately convinced us to move forward:

1/ Consumer total immersion in the brand experience.

It’s the only digital format that has allowed us to get the consumer enveloped in the total Brand Experience. Providing a mix between the great emotion of TVC AND digital interactivity.

2/ Ability to get very precise on our media targeting.

Through Apple’s apps targeting strategy, Apple is able to propose a much more efficient view on who the ad is reaching, compared to other formats.

3/ The inherent PR value that comes with being the first.

An investment of 1 million euros in the French market is comparable to the cost of producing an ambitious TVC or buying broadcast media such as YouTube to air one campaign in home page during the period of a month: it’s a huge decision to take. Even more so when this investment concerns a Mobile marketing strategy that’s not yet proven on a device that has less than 10% penetration in the French market.  In this context, more than delivering something in line with the strategic objectives, you want to be sure you’ll generate some Earned Media too.

4/  Faith in Apple’s ability to deliver.

Marketers and Advertisers are brand builders.  And, when it comes to this, Apple is one of the first benchmarks we have in mind. It creates a kind of fascination and emotional decision that we need to stay mindful of when evaluating it for our Brands.

Perrier was an obvious fit and we chose to go for it. It was meaningful from a Target point-of-view, a Brand point-of-view and it was aligned with the engagement strategy that we were running for this Brand. Moreover, the business conditions where perfect.  We were launching a Perrier limited edition with Dita Von Teese and looking for a way to make the brand even more engaging. Perrier has always been an iconic brand with its innovative and out-of-the-box thinking when it comes to creation. iAd was the perfect way to deliver a totally fresh Brand experience to a really specific target of Trendsetters.

We built a dedicated experience on Apple’s iAd through iPhone devices — a digital interactive four  minute video experience that transforms your iPhone into “The Perrier Mansion”.  An intimate show in which you are in complete control, or at least will try to be… Dita takes you to every corner of the Mansion and initiates you to new pleasures in each of its rooms.

In the “Dark Room “, you’ll have to be accurate enough when tapping on your iPhone screen to capture the most lascivious poses of a show performed in the dark.  In the room “Roll the Dice”, you have to shake your iPhone to roll the dice and Dita will do only what chance decides.  Those lucky enough to get the “double Perrier” still remember what they got to see… In the third room of the mansion, Dita is performing one of her sexiest shows while every 5 seconds a curtain is falling down threatening to stop your view… To see the show you will have to keep the curtain from falling by frenetically typing on your iPhone screen.

How was the collaboration with Apple during the production phase?
Joyful but Bumpy.  When you drive innovation, the road is never never never straight- forward.  You have to deal with the unexpected.  This is the price that “Leaders” pay compared to the “Followers.”  From my point-of-view, most of the issues were due to the fact that we were the first in Europe.  The Apple team in Europe was growing along the way with people totally new who were trying with us to push boundaries of this new format.  It has an impact on project management and client service.  In our experience, we had one day to test the iAd before going live.  And, we found that some key elements of the experience were missing.  Finally, we postponed the launch to be sure the iAd was as amazing as we wanted it to be.

Do you have any insights on the reasons why it was so bumpy, that you could share?
As I said, running innovation is always bumpy—especially when creative/client service expectations are really high.  In this case, I do think Apple is a little bit a victim of their reputation.  When you’re working with Apple you’re expecting the best.  In parallel, you have to look at the way Apple is use to working to understand the issue they’re facing today.  From the beginning of their success story, Apple has been developing extraordinary products that have deeply impacted the pop culture.  They did it their way, in the dark, in a closed process where nobody was allowed to penetrate.  Today, when Apple is jumping into the Ad business through iAd, they are embracing a brand new way of working.  With new partners: Brands and Advertisers.  The consequence of this impacts every core discipline of the production chain.  But we all know the Apple folks are learning very very fast.  That said, nothing from what we experienced isn’t fixable:  A near-future iAd for Perrier is in the pipe, and I’m sure the journey will be much smoother.

And what about the creative relationship with Apple? There’s a lot of noise on Madison Avenue about how Apple is too controlling in the creative process.
Perrier Mansion’s iAd is a super ambitious creative product.  One of the most ambitious iAds ever made–if not the most ambitious.  We could not have managed to launch this kind of creative product if Apple were not on the same page as us and 100% up to working as a team–especially in such a short window of time.  But a single ambition drove us: to push the limits of mobile advertising and to deliver the most exiting iAd ever made.  Apple’s creative directors and developers worked hand-in-hand with the Ogilvy team.  From the kick off meeting to the D-Day!

What are the first results?
Beyond production issues that seem to inevitably accompany any innovative project, only the results count: the Perrier Mansion’s iAd has been 40 times more efficient than any other digital ad format when you compare click rate.  According to Mediaminds 2010 Study, the average click-thru-rate for digital ads is 0:09.  We’re seeing that people spend an average of 2 minutes playing with the interactive Perrier Dita video brand experience.  That’s 7 times more time spent than on Brand websites or watching videos on YouTube.  (The average time spent on watching a video on YT is 30secs. Source: YT 2010).  The Perrier Mansion’s iAd’s click-thru-rate and time spent is 2 times better than any other iAd ever made (US/Europe).

Do you believe that iAd will revolutionize the Ad industry?
In France, it’s reported that 70% of the audience doesn’t like Advertising.  And only 38% find it useful. (Source: Figaro étude Nielsen 19/10/2009).  The consumer behavior has changed.  The way we think and deliver our Brand messages has changed too.  As an Advertiser, we need a helpful partner who can provide us with the tools and format that reinvents the Brand Experience.  And, to deliver creation that tells a story and engages the user by putting him at the heart of the storyline.  From that point of view, iAd is definitively revolutionizing the mobile ad industry.  From an efficiency stand point, when iAd is used at 100% of its capacity and your creation is built upon a big idea, it’s blowing out every result we’ve seen on Mobile ad and Web ad marketing.

What has to be improved?
In parallel to what we’ve already talked about (project management/client service/tracking tools) one of the main reason marketers are choosing iAd is its ability to target.  From this first experience the reality is slightly different.  Thanks to the apps segmentation, it’s now easy to know what the user is interested in (music, sports, lifestyle etc.).  His “profil chinois”.  Apple will have to deliver on this one if they want to have the trust of Marketers.

Are you up for recommending iAd to one of your other brands?
To reach a specific target of people who are the next standard of customers (not reactive to an old model of interruptive marketing / always on-the-move / consuming content from several devices / digitally active) Apple iAd is definitely something we will have to integrate into the full strategy of our brands.

Advertising Agency: Ogilvy France, Paris
Executive Creative Director: Chris Garbutt
Creative Director: Fabio Costa
Copywriters: Baptiste Clinet/Nicolas Lautier
Art Directors: Baptiste Clinet/Nicolas Lautier
Interactive Designer: Ben Tricklebanck
Technical Developer: Karl Ringman
Production Company: B-Reel, New York
Director: Anders Hallberg
Year: 2011

Christmas Letter for Santa: the most awarded Toys & Games Ads

PICTIONARY – Quick Draw Wins Campaign

Advertising Agency: Ogilvy Malaysia
Executive Creative Director: Gavin Simpson
Copywriter: Adam Chan, Donevan Chew
Art director: Yee Wai Khuen, Tan Chee Keong
Illustrator: Milx
Year: 2011
Gold Lion for the campaign


SCRABBLE – Elephant/Guitar/Submarine/Camera/Samurai

Advertising Agency: JWT Chile
Executive Creative Director: Leo Farfan, Matias Lecaros, Sergio Rosati
Copywriter: Matias Lecaros
Art director: Matias Lecaros
Photographer: Cristian Gastelo
Year: 2009
Silver Lion for the campaign


LEGO – Caterpillar/Monster/Whale

Advertising Agency: Ogilvy Malaysia
Executive Creative Director: Gavin Simpson/Robert Gaxiola
Creative Director: Eric Yeo
Copywriter: Greg Rawson/Ross Fowler
Art Director: David Stevanov
Year: 2011
Silver Lion for the campaign

PLAYSTATION 2 – Boxer/Soldier

Advertising Agency: BBDO Chile
Creative Director: Cristian Schinadeermann
Copywriter: Matias Lopez, Marcelo Correa
Art Director: Emerson Navarrete, Fernando Riveros
Photographer: Lautaro
Typographer: Ricardo Salamanca
Year: 2006
Gold Lion for the Campaign


LEGO – Accountant/Electrician/Engineer

Advertising Agency: Serviceplan, Munich
Executive Creative Director:Matthias Harbeck
Creative Director: Alex Schill/Oliver Palmer
Copywriter: Frank Seiler
Art Director: Sandra Loibl/Julia Koch
Year: 2011
Bronze Lion for the campaign


 LEGO – Spaceship/Beetle/Deep Ocean Explorer

Advertising agency: Leo Burnett, Moscow
Creative Director: Mikhail Kudashkin
Art Director: Arina Avdeena
Copywriter: Rodrigo Linhaners
Year: 2011
Gold Lion for the campaign



Advertising agency: Ogilvy Mexico
Creative Director: Miguel Angel Ruiz
Copywriter: Abraham Quintana
Art Director: Ivan Carrasco, Mario Salgado, Jaime Gonzales
Year: 2010
Bronze Lion



Advertising agency: Ogilvy Brazil
Creative Director: Zuza Tupinamba
Copywriter: Zuza Tupinamba
Art Director: Marcos Paolo Juliano
Year: 2001
Silver Lion


MACHBOX – Mustang/Eldorado/Fleetwood

Advertising agency: Ogilvy Frankfurt
Creative Director: Stephan Vogel
Copywriter: Stephan Lenz
Art Director: Marco Weber
Year: 2008
Gold Lion for the campaign


SPHERE ACTION FIGURES – Pararescue Jumper/16 Air Assault/7th Marines/Desert Rats

Advertising agency: TBWA/Singapore
Creative Director: Mark Bamfield
Copywriter: Robert Kleman, John Sheterline
Art Director: Marcus Rebeschini
Year: 2004
Gold Lion for the campaign



Advertising agency: Lowe Brindfors, Stockholm
Creative Director: Hakan Engler
Copywriter: Johan Holmstrom
Art Director: Richard Villar
Year: 2005
Gold Lion for the campaign


MEDAL OF HONOR (EA Games) – Goodbye/Proud Mother/Back Home

Advertising agency: FP7 Doha
Creative Director: Fadi Yaish
Copywriter: Kalpesh Patankar
Art Director: Kalpesh Patankar
Year: 2008
Gold Lion for the campaign



Advertising Agency: TBWA Paris
Creative Director: Erik Vervroegen
Copywriter: Eric Helias
Art Director: Jorge Carreno
Photographer: Dimitri Daniloff
Year: 2003
Grand Prix in Press Lions



Advertising Agency: TBWA Paris
Creative Director: Erik Vervroegen
Copywriter: Eric Helias
Art Director: Jorge Carreno
Photographer: Marc Gouby
Year: 2003
Silver Lion for the campaign



Advertising Agency: TBWA Paris
Creative Director: Erik Vervroegen
Copywriter: Guillaume Ulrich Chifflot
Art Director: Cedric Moutaud
Photographer: Dimitri Daniloff
Year: 2004
Gold Lion


PLAYSTATION 2 – Potato Head

Advertising Agency: TBWA Paris
Creative Director: Erik Vervroegen
Copywriter: Manoelle Van Der Vaeren
Art Director: Sebastien Vacherot
Photographer: Dimitri Daniloff
Year: 2004
Gold Lion


PLAYSTATION 2 –  Adultery

Advertising Agency: TBWA Paris
Creative Director: Erik Vervroegen
Copywriter: Benoit Leroux
Art Director: Philippe Taroux
Photographer: Dimitri Daniloff
Year: 2005
Gold Lion



Advertising Agency: TBWA Paris
Creative Director: Erik Vervroegen
Copywriter: Manoelle Van Der Vaeren
Art Director: Sebastien Vacherot
Photographer: Dimitri Daniloff
Year: 2005
Gold Lion



Advertising Agency: TBWA Paris
Creative Director: Erik Vervroegen
Copywriter: Matthew Branning
Art Director: Chris Garbut
Photographer: Dimitri Daniloff
Year: 2005
Gold Lion



Advertising Agency: TBWA Paris
Creative Director: Erik Vervroegen
Copywriter: Guillaume Ulrich Chifflot
Art Director: Cedric Moutaud
Photographer: Dimitri Daniloff
Year: 2005
Gold Lion



Advertising Agency: TBWA Paris
Creative Director: Erik Vervroegen
Copywriter: Xander Smith
Art Director: Javier Rodriguez
Photographer: Yann Robert
Year: 2005
Gold Lion


PLAYSTATION 2 –  Sleeping Beauty

Advertising Agency: TBWA Paris
Creative Director: Erik Vervroegen
Copywriter: Bjoern Ruehmann/Joakim Reveman
Art Director: Bjoern Ruehmann/Joakim Reveman
Photographer: Eugenio Recuenco
Year: 2005
Gold Lion



Advertising Agency: TBWA Paris
Creative Director: Erik Vervroegen
Copywriter: Sebastien Vacherot/Jessica Jerard- Huet/Loic Cardon/Ingrid Varetz
Art Director: Sebastien Vacherot/Jessica Jerard- Huet/Loic Cardon/Ingrid Varetz
Photographer: Yann Robert
Production Company: DEF 2 Shoot, Paris
Director: Thomas Marque
Year: 2006
Gold Lion



Advertising Agency: TBWA Espana, Madrid
Creative Director: Juan Sanchez/Guillermo Gines
Copywriter: Vincente Rodriguez
Art Director: Bernardo Hernandez
Year: 2008
Silver Lion



Advertising Agency: TBWA Espana, Madrid
Creative Director: Angel Iglesias/Guillermo Gines/Agustin Vaquero
Copywriter: Guillermo Gines
Art Director: Angel Iglesias
Year: 2005
Silver Lion


LEGO – Street Building

Agency: Ogilvy & Mather Santiago
Creative Director: Cesar Agost Carreno
Copywriter: Felipe Manalich
Art Director: Sergio Iacobelli/Sebastian Alvarado
Photographer: Juab Carlos Sotello
Year: 2005
Grand Prix (Outdoor Lions)


LEGO – Periscope

Agency: FCB Johannesburg
Creative Director: Bret Morris
Copywriter: Lance Vinning
Art Director: Lance Vinning/Charles Foley
Photographer: Gerard Turnley
Year: 2006
Grand Prix (Press Lions)


LEGO – Fire Station/Hangar/Train Station

Agency: Saatchi & Saatchi Singapore
Creative Director: Andy Greenway
Copywriter: Stuart Harricks/Roger Makak
Art Director: Stuart Harricks
Photographer: Dean Zillwood/IDC
Year: 2006
Silver Lion for the campaign


LEGO – Builders of tomorrow

Advertising Agency: JUNG Von MATT, Hamburg
Creative Director: Arno Lindemann/Bernhard Lukas
Copywriter: Daniel Schaeferk
Art Director: Szymon Rose
Photographer: Achim Lippoth
Year: 2007
Gold Lion


SCRABBLE – Beautiful World Campaign

Advertising Agency: Ogilvy & Mother France
Creative Director: Chris Garbutt
Copywriter: Arnaud Vanhelle, Benjamin Bregeault, Mihnea Gheorghiu
Art Director: Antoaneta Metchanova, Alex Daff, Najin Ha
Year: 2008
Silver Lion for the campaign



Advertising Agency: TBWA/Madrid
Creative Director: Juan Sanchez/Guillermo Gines
Copywriter: Vincente Rodriguez
Art Director: Hely 
Year: 2007
Bronze Lion

TAMIYA MODEL KITS – LightsBulb/Frog/Watermelon

Advertising Agency: Creative Juice G1/TBWA, Bangkok
Creative Director: Thirasak Tanapatanakul/Prangthip Praditpong
Art Director: Kittitat Larppitakpong/Jon Chalerwong/Thirasak Tanapatanakul
Copywriter: Nutchanun Ciaphanumas
Photographer: Anuchai Sricharunputong/Nok
Year: 2005
Gold Lion and Silver Lion for the campaign (Press&Outdoor)