Lurzer's Archive 223 (US edition). 2/23

EPHANIE Bassos

ALICE Blue TYLLIE Barbosa

JOHN Blais

Represented by:

Advertising: Schumann & Co patti@schumannco.com 312.925.1530

Entertainment: Elaine Browne elaine@sea-reps.com 310.740.7336

Photographer / Director lindsaysiu.com

Over

STILLS AND MOTION

TIM TADDER

Dan Goldberg

Vecchione

randal ford

matthew turley

christopher wilson

rj

muna

shaun fenn

annabelle breakey

margaret lampert

Noel Barnhurst

Photographer

When I met David Lubars a month or two back to plan the interview we did together for this issue, he told me a joke. It was a kind of ‘shaggy dog story’.

I liked it and told it to at least three other people. It went down well, or at least they seemed to find it amusing, although I knew I wasn’t telling the joke anywhere near as well as David. His perfectly-timed narrative was a way of illustrating the limits of AI; it centered around some quirky points of human experience and culture, and how we often connect in ways beyond easy explanation. I didn’t quite nail it but for some days managed a passable impression.

Of course, it would be best if I told you the joke at this point and let you make your own mind up on what we may call here The Lubars Theory of AI Limitation. The story hung on how somebody believes they have understood something but have actually misunderstood a key point — with punchline consequences. However, as you may have guessed by now, I forgot the joke, at least I don’t trust myself to fumble through it, thanks to fuzzy memories. I also suspect that it wouldn’t work as well written down as when delivered verbally by a master storyteller. There may be something funny, or at least ironic, in that my failing to recall a story about human failings hangs on a story about AI’s inherent failing to be of our species (with the inconsistencies that must come with that).

The limitations of AI touched on in my shaggy dog distraction are also obliquely recalled in the true story that, with great sadness, I have to tell you now. Alan Page, co-director of this publication, and my great business partner and long-time friend, died in early May. Almost two years ago, we took on the great responsibility of running Lürzer’s Archive. We were immensely excited by the challenge of building this publication to be everything that we and our colleagues — and of course you — might want from it now and in the years ahead. Alan, a much-awarded copywriter and creative director and a long-time admirer of Lürzer’s Archive, at times couldn’t believe his luck to have such a wonderful and challenging responsibility on his hands.

If you like anything we have been doing recently, or in the year or so ahead, it will be due in no small part to Alan’s ideas and hard work. He was determined to ensure Lürzer’s Archive could grow as a great, generous-spirited central point of inspiration for the creative community. He cared deeply for our role in helping develop creative standards and encouraging wider opportunities for young creatives to come into the industry.

His vision and guiding ideas will live on. Mmm … that’s a statement that AI could have crafted. What AI can’t get across, that David’s story illustrated, is that there is something so intensely human about what it takes to make us laugh, love, cry and grieve. Alan knew that and all who knew him appreciate it all the more with his passing. And so … onward. Issue 223, one of many more we plan for Alan and for all, wherever you are now.

Yours

Lewis Blackwell, Director

Alan’s work features in Classics, page 204. A fuller obituary on Alan can be read here: bit.ly/3p9KF5x

[39]

Contents

1 UPFRONT

4THE SMALL PRINT

6 ECLECTIC

10 INTERVIEW

David Lubars

16 PRINT WORK Ranking

143 FILM WORK

152 INTERVIEW

Fura Johannesdottir

159 BEAUTY+ FASHION SPECIAL REPORT

Seriously Superficial

203 BACKDROP Classics Reviews

LÜRZER’S ARCHIVE

Issue 223 2/2023

ISSN 1727-3218

ISBN 978 -3- 903909 - 03 -8

Cover:

Client

Fridays for Future Agency

Fred & Farid, Los Angeles

Art Direction

Radouane Guissi

Copywriter

Radouane Guissi

Digital Artist

Benjamin Benichou

Publisher & Editor-in-Chief

Michael Weinzettl

Managing Editor

Christian Hrdlicka

Art Director

Christine Thierry

Brand and Design Direction

SIX

Contributing Editor

Maeve O’Sullivan

Editorial Research

Josh Lambie

Ad Sales USA

Claudia Coffman

Ad Sales International

Kate Brown

Sheila King

Database Coordinator Ovidiu Cristea

Website luerzersarchive.com

Ad sales sales@lurzersarchive.com

Editorial editor@lurzersarchive.com

Subscriptions and copy sales subs@lurzersarchive.com

Distribution/Retail latrade@lurzersarchive.com

All other inquiries, check website or email help@lurzersarchive.com

Published by Lürzer International Ltd. 151 Wardour Street London W1F 8WE United Kingdom

Director Lewis Blackwell

Printed by Print Alliance HAV Produktions GmbH Druckhausstr. 1 2540 Bad Vöslau Austria printalliance.at

Contents © 2023 Lürzer International Ltd. All rights reserved

The contents of this magazine may not be reproduced in whole or in part without prior written permission from the publisher, Lürzer International Ltd. Lürzer’s Archive is a trademark of Lürzer International Ltd, London.

Submissions

We welcome published work, as individual or campaigns. Please submit at luerzersarchive.com

The submitter must have the authority to grant Lürzer’s Archive the rights and permission to reproduce, edit, comment editorially on the submission and to use the submission in print, online and in any marketing material for Lürzer’s Archive. All work is featured free of charge. We accept no responsibility to return unsolicited material and reserve the right to accept or reject any material for any reason.

Shower thoughts

The spark of original thought often comes when least expected. Many swear by the inspirational properties of morning ablutions. Recent Archive creatives here share with us off-beat insights that have come to them in the shower and elsewhere.

JOHN BOONE Freelance Art Director/CD Charlotte, North Carolina

What if someday we actually found “Bigfoot” and he really was blurry?

MATTHIJS VAN RUMPT Copywriter KesselsKramer, Amsterdam

I can’t stop thinking about shower thoughts. Shower thoughts are good but too many thoughts are bad for the environment. Try keeping it under five thoughts per shower. Maybe there are more sustainable places for thoughts ... Rain thoughts. Sweat thoughts.

Tear thoughts?

If something important happens today, is it already history?

I would like somebody smarter than me who could use big data to create something to make people find their twin soul, crossing data such as interests, likes, past relationships, profession, cultural context, etc. The real question here is if falling in love with somebody could be the factual result of this crossing information or not. Is that enough or is love completely unpredictable? Who knows? The future will provide. Future love looks like … ?

JAMES CROSS CCO & Founder

Meanwhile, Manchester

Why can you never remember the last thing you thought of before falling asleep?

WIHAN MEERHOLZ Digital Creative Director DDB Aotearoa, Auckland, New Zealand

MARÍA LUJÁN DONAIRE Executive Creative Director HOY by Havas, Buenos Aires

IVAN LOOS Regional Creative Director Publicis Groupe, Singapore

Assuming there’s life on Mars, would their movies show humans as aliens?

ELISA KONTTINEN Creative Lead at Reaktor Creative, Helsinki

Have you ever considered the possibility of being reborn as the most annoying character you once wrote into a random sausage advertisement?

MARTINA ODOLI CARAVAJAL Illustrator & Junior Art Director Wunderman Thompson, Milan

Lately, I’ve been thinking about how fashion can promote such a throwaway culture. So my shower thought is: could fashion glamourize even the sewer?

If an AI would be able to choose its own gender, would it prefer to be male or female?

Why do girls act like dealers when they’re just thoughtfully passing another girl a tampon?

ARIANNA MONTOYA Copywriter

Garnier BBDO, San Jose

As a species we’ve existed for more than 300,000 years, with an average life expectancy of c. 72 years. A typical life accounts for only 0.00024% of our species’ entire existence. We are a mere speck in time. I think of that when I’m being too hard on myself.

SARA ARMENGOL ABAD Art Director Edelman, Madrid

HANS-PETER SPORER Managing Creative Director thjnk, Munich

RAFAEL MEREL Vice President Heads Propaganda, São Paulo

Why are traffic lights not synchronized, so drivers don’t have to stop every block for a red light? And with so many bad drivers on the ground, why would anyone want flying cars? To fly...isn’t it amazing how far humans have come? Creativity is just like that. You just have to connect the dots.

CATRIN

ROTH Senior Art Director Hey David, Stuttgart, Germany

CARMEN FENECH Senior Art Director Hill Holliday, Boston

There should be a clock that you use just for daylight savings. You can only use it once a year, and it goes straight from 1am to 3am.

Brain freeze is like a hangover for kids. Instant regret. Followed by wanting more ice cream.

No one would run a marathon if they weren’t allowed to talk about it.

SYEDA AYESHA IKRAM Executive Creative Director, BBDO Indonesia, Jakarta

What determines any form of intelligence to be stated as artificial? Just because I do not know where this thought came from doesn’t qualify it as natural.

PEDRO AMERICO Executive Creative Director McCann Germany, Berlin

We never turn our minds off. So we should keep up to it. Once I read about this famous singer from Brazil, Roberto Carlos, that he would walk around with a recorder to not forget ideas for songs on the go they would appear. And since then, I’ve been doing the same. Always have a place to register your ideas. Use your phone. Voice memo. Text notes. A notepad. A napkin. Doesn’t matter.

MÉLISSA CHARLAND Creative Director Publicis, Montreal

We’re a full service production company in Canada providing representation to an awardwinning roster of commercial photographers/ directors. Each specialize in their own field with their own vision and personality. We work with agencies and clients to create AH HA moments.

andrea@ahharepresents.com

647 892 8062

ahharepresents.com

Jon Bielaski

Paula Wilson

Ryan Schude

Roth & Ramberg

For our first The Creative Life feature, we thought one of our most entertaining and informative past interviewees might be the right starting point. Nobody seemed more appropriate for the invitation to be subjected to left-field questioning than David Lubars, long-time CCO and Chair of BBDO Worldwide. Fortunately, he said yes …

David’s different tunings

L[A] What is the biggest change in your work in the few years since we last interviewed you in 2016?

DL That’s easy: how to create magic during a pandemic – the struggle of trying to capture it over a screen instead of in person. Happy accidents happen live, where an unplanned hallway exchange can change everything. At a creative house, the team is all important, we had to overcome not having those spontaneous sparks.

L[A] At BBDO, what haven’t you done yet that you are keen to do?

DL The thing our clients value most about us is that we’re reductionists. In other words, our ability to take a complex, multi-tiered problem and break it down to a simple truth. And reveal that truth with effervescence and magic. There are no shortcuts, you need to do the rigor. So, the thing BBDO is keen to do … is remain great at it. The hardest thing to do in any field is maintain greatness. It’s easy to have a good one-off here or there, but the people I respect – and the agencies I admire – deliver year after year, decade after decade.

L[A] What’s the most underrated, or perhaps misunderstood, thing about running a creative agency?

DL I don’t know that there’s an underrated or misunderstood thing – it’s more that people seem mystified by it. I’m often asked about our culture and what we do to make the place what it is. Simple: our people are extremely talented and extremely un-assholey. Attract a core group like that and the rest takes care of itself.

L[A] Some great agency and network names have disappeared in recent years. BBDO is still up there. What’s the secret?

DL There’s no secret. We believe deeply in creativity as an economic multiplier, and we kill ourselves to prove it to our clients every day.

L[A] What do you love to do at the weekend?

DL If I’m not working, then I like to let the work part of my brain [laughs] … heal.

L[A] As somebody who started out wanting to be a journalist, and is quoted as saying that ‘the truth is the only thing that works in advertising’, have you any advice on where or how to look for/find the truth?

DL Every great brand has a great truth. It’s waiting to be revealed or waiting to be revealed in the right light. How to discover it is what makes agencies unique from one another because there’s no one way. Data is important, gut and intuition are important; it’s a stew that needs to be stirred just right.

L[A] Please refer us to the recent BBDO project, or projects, that you think Lürzer’s readers might be most informed, entertained, or inspired by.

DL Off the top of my head: The Missing Matoaka project from Toronto; the Skinny outdoor/radio campaign from New Zealand; the An Nahar Newspaper program from Dubai; and the M&Ms spokescandy ’cancellation’ from New York. These were extraordinarily effective because they not only had powerful, unique messages but also achieved fame and became part of the cultural zeitgeist – that’s BBDO when all cylinders are firing.

L[A] If you are on a long flight (and you don’t need to catch up on sleep) what do you choose to do?

‘I’m often asked about our culture and what we do to make the place what it is. Simple: our people are extremely talented and extremely un-assholey.’

Above left: New Zealand telco Skinny got across its lowcost message with a campaign by Colenso BBDO that had the public literally dial in their version of radio ads using scripts that had been placed around the country on posters, beer mats and more.

Above middle: Lebanese newspaper An-Nazar in Beirut, defying Government oppression and determined to uphold the freedom of the press and honour their assassinated editor-in-chief, printed a supplement in its pages, giving fresh voice to six forcibly terminated publications that gave fresh voice to writers from six suppressed publications. A project created with Impact BBDO.

Above right: The Missing Matoaka by BBDO Canada created a whole new audio track for the film Pocahontas, so as to tell the story from an indigenous Canadian perspective (Matoaka being the original name of Pocahontas). The romantic myth was replaced by a grim yet compelling tale of abduction, rape and murder. Client: Muskrat Magazine.

Left: For M&M’s, in and around the Super Bowl this year, BBDO New York created an integrated campaign that enraged and engaged fans everywhere when for a while it seemed the famous ‘spokescandy’ characters were destined to be dropped. Somehow they were saved …

DL First, finish up whatever work is brewing. Then watch a movie. Then listen to music and read. Then feel sleepy as we’re about to land.

L[A] You’ve shared terrific creative influences/inspirations previously in interviews with us. What might you add to the list from fresh discoveries in the last year or two?

(Can be from all kinds of media/disciplines.)

DL Lately, I’ve been playing guitar using different tunings. It not only makes you sound better than you are but requires you to sort of relearn how to play because the voicings are all different. It rewires your brain in a way and opens new pathways to creativity. Only guitar nerds will understand this: I’ve been messing around with open G, dropped D, EEEEBE, DADGAD, and dropped C with a second fret capo.

L[A] Finding and nurturing creative talent is a big part of being an effective creative leader. How has that changed in recent times? Is it easier or harder to get good talent into agencies, and has the nature of the talent that is needed evolved?

DL Recruiting and nurturing creative talent is the most important thing I do. I make a point of meeting as many of the creative people we’re thinking of hiring as I can. It goes back to your earlier question about the secret of BBDO being ‘still up there.’ Part of the answer is the injection of people into the agency’s bloodstream who can teach us new things. In some instances, I’ve passed on a more famous book, instead going for someone who was maybe doing

something less well-known but more forward-thinking. Something that made me jealous because we weren’t doing it. In return, we demonstrated how to do it more famously, a quid pro quo.

L[A] I read that you practice transcendental meditation. Has that changed how you approach your work?

DL It hasn’t really changed how I work but it’s changed the way I sleep in a good way – which, I suppose, helps the work.

L[A] Finally ... what question haven’t we asked that would be good to ask you?

DL Is it true you once almost ran over Joni Mitchell?

DL [laughs] I was leaving a parking garage that had a driveway lined with tall bushes on one side. This was in a part of Los Angeles where no one walks – yet, out of nowhere, Joni Mitchell burst through the bushes in front of the car. I was, like, ‘Hey, Joni Mitchell, not cool.’ Occurs to me only now I should’ve asked about her guitar tunings.

David Lubars is Chair and Chief Creative Officer of BBDO Worldwide. For more on his experience and insight, read our three previous interviews with him online.

If you have an unusual question to add to our next Creative Life interview, do tell us. We might just use it (and credit you).

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NOVEMBER 16

2024 •

Print [18–141]

Client

Balloon Brigade

Agency

Arcana Academy, Los Angeles

Creative Direction

Shane Hutton, Lee Walters

Art Direction

Lee Walters

Copywriter

Shane Hutton

Illustrator

Midjourney

Agency

Innocean Worldwide, Berlin

Creative Direction

Gabriel Mattar, Ricardo Wolff, Pedro Lourenco

Art Direction

Stefano De Luccia, José Gomes

Copywriter

Pedro Lourenco

Photographer

Minji Park

SAMSUNG ELECTRONICS Campaign

Agency

Leo Burnett

Tailor Made, São Paulo

Creative Direction

Bruno Godinho, Lígia Mendes, Alessandra Sadock

Art Direction

Matheus Valery

Copywriter

Vitor Zillo, Cássio Guiot

Photographer

Gustavo Zylbersztajn

Agency

Leo Burnett Tailor Made, São Paulo

Creative Direction

Bruno Godinho, Lígia Mendes, Alessandra Sadock

Art Direction

Matheus Valery

Copywriter

Vitor Zillo, Cássio Guiot

Photographer Gustavo Zylbersztajn

MINI COLOMBIA

Mini Electric campaign

Agency

MullenLowe SSP3, Bogotá

Creative Direction

Jaime Duque

Art Direction

Jaime Duque

Copywriter

Jaime Duque, Eduardo Vargas

Agency VMLY&R, Lima Creative Direction

Jefferson Cortavarria, Miguel Estela Art Direction

Jean Navarro Copywriter

Kimberlie Fernández Digital Artist

Jorge Albornoz

Agency

MullenLowe SSP3,

Bogotá

Creative Direction

Jaime Duque

Art Direction

Jaime Duque

Copywriter

Eduardo Vargas

Typographer

Juan Moncada

MINI COLOMBIA Campaign

Newspaper article headline: The negative effect of the transport sector on environmental pollution.

CITROËN Campaign

Agency Mullenlowe Delta, Guayaquil, Ecuador

Creative Direction

Andre Pedroso, Eduardo Chiriboga, Marco Tapia

Art Direction

Daniel Mera

Copywriter

Nicolas Prado, Isaac López

Agency MullenLowe SSP3, Bogotá

Creative Direction

Jaime Duque

Art Direction

Jaime Duque

Copywriter

Jaime Duque, Eduardo Vargas

NISSAN Campaign

Agency

TBWA\G1, Paris

Creative Direction

Philippe Rachel, Carl Harborg

Art Direction

Javier Pizarro

Copywriter

Italo Canepa Photographer

Jake Osborne

Agency

BBDO, Guayaquil, Ecuador

Creative Direction

Carlos Vergara, Ernesto Ravelo

Art Direction

Carlos Villacis

Copywriter

Paul Morales

Photographer

Carlos Villacis, Ernesto Ravelo

Agency David, Bogotá Art Direction

Camilo Jimenez, Julián Olivares, Izmael Crespo Copywriter

Camila Ordóñez Bozzi

MEURON Campaign

Agency

Meaning, Kobe, Japan

Creative Direction

Kohei Morikami

Art Direction

Takeshi Fujimoto

Photographer

Koji Kuruma

Typographer

Takeshi Fujimoto

Digital Artist

Takeshi Fujimoto

Agency Abbott Mead Vickers (AMV) BBDO, London

Creative Direction

Andre Sallowicz

Photographer Greg White

Agency

Rock The Agency, Bogotá

Creative Direction

Juan Espitia

Art Direction

Juan Espitia, Fabian Fernandez “Faco”

Copywriter

Alejandro Sarmiento

Illustrator

Fabian Fernandez “Faco”

Agency

Rock The Agency, Bogotá

Creative Direction

Juan Espitia

Art Direction

Juan Espitia, Fabian Fernandez “Faco”

Copywriter

Antonio Silva

Illustrator

Fabian Fernandez “Faco”

Digital Artist

Fabian Fernandez “Faco”

Agency

Grey Worldwide, Dubai

Creative Direction

Pablo Maldonado, Khaled Ibrahim Art Direction

Rolando Ruiz, Madhruth Zaman

Copywriter

Ritabrata Saha

Photographer

José Antonio Bernat Bacete

Strapline:

Agency

BBDO, Santiago de Chile

Creative Direction

Francisco Cavada, Sergio Araya, Alvaro Becker

Art Direction

Flavio Cabezas, Pablo Orozco, Javiera Arriola

Copywriter

Francisco Barrena, Ana Fernández

Photographer

Estudio Como

Digital Artist Pedro Slaibe

AMMAN TEA Campaign

Top: Food pyramid of an heir to the crown after discovering his brother decided to write a book about the royal family.

Bottom: Food pyramid of a community manager after the world’s richest man buys the social network she works at.

Food calms your anxiety –we calm the consequences.

ALQUERIA Campaign

Agency

Grey Colombia, Bogotá

Creative Direction

Oscar Muñoz, Juan Cárdenas, Juan José Posada Art Direction

Oscar Muñoz, Juan José Posada, Charles Andara

Copywriter

Camilo Garzon Illustrator Charles Andara

Digital Artist Oscar Muñoz, Charles Andara

Agency

303 MullenLowe, The Rocks, Sydney, Australia

Creative Direction

Bart Pawlak

Art Direction

Steve Lorimer

Copywriter

Steve Straw

TETLEY TEA Campaign

Agency

Leo Burnett, Madrid

Creative Direction

Juan Frias, Carlos Mañas

Art Direction

Greta Milans del Bosch, Henrique Leite, Laura Barbeito

Copywriter

Manolo Catalán

Agency

Havas HOY, Mexico City

Creative Direction

Jairo Lezaca

Art Direction

Daniel Ortíz Sada Copywriter

Jairo Lezaca

Digital Artist

Kristian Natalicchio

BURGER KING GLOBAL Campaign

Agency

David, Madrid

Creative Direction

David Krueger, Pedro Sattin, Sebastien Rouviere

Art Direction

Pedro Sattin

Copywriter

David Krueger, Sebastien Rouviere

Photographer

Nixon Freire

BIG PONS Campaign

Agency

Nacho Pedemonte, Buenos Aires

Creative Direction

Nacho Pedemonte

Art Direction

Carolina Menises

Copywriter

Nacho Pedemonte, Soledad

Ezratty Photographer

Carolina Menises

Agency

Wunderman Thompson

MENA, Dubai

Creative Direction

Tiago Bastos

Art Direction

Jericho Dizon, Tiago Bastos

Copywriter

Marcelo Zylberberg, Anant Kurup, Adham Abdullah

Digital Artist Studio Nuts

HEINZ KETCHUP Campaign

MCDONALD’S

Agency

DDB Colombia, Bogotá Creative Direction

Juan Felipe Jaimes, Juan Carlos Chaves, Diego Tamayo

Art Direction

Gustavo Victorino, Diego López, Miguel Van Bommel Copywriter

Antonio Lopez, María Constanza Santacruz

Agency

Mass Digital, Bogotá

Creative Direction

David Patiño

Art Direction

David Patiño

Copywriter

Josué Núñez

Photographer

Galo Naranjo

Agency

Creative Direction

Mark Shanley

Art Direction

Andy Clough

Copywriter

Richard McGrann

Photographer

Frederick Paxton

HEINZ KETCHUP Campaign

Agency

GUT, Buenos Aires

Creative Direction

Juan Pablo Lufrano, Matias Lafalla, Ramiro Gamallo

Art Direction

Joe Almeida, Nicolás Feldman

Copywriter Gonzalo Díaz, Juan Marzari

Digital Artist Diego Salas

HEINZ KETCHUP Campaign

Agency Rethink, Montreal

Creative Direction

Aaron Starkman, Mike Dubrick, Daniel Lobatón Morey Art Direction

Skye Deluz

Copywriter

Jacquelyn Parent, Xavier Blais, Nicolas Dubois

Photographer

Ale Burset

DARBO Campaign for D’arbo brand honey.

Agency

Demner, Merlicek & Bergmann / DMB., Vienna

Creative Direction

Daniela Sobitschka, Anna Repitsch

Art Direction

Martin Dorn Digital Artist

Mladen Penev, Christo Penev, Daniel Poschinger

MCDONALD’S

Agency

TBWA, Zurich

Creative Direction

Tizian Walti, Martin Winther, Manuel Wenzel

Art Direction

Agency

Ruf Lanz, Zurich

Creative Direction

Markus Ruf

Art Direction

Isabelle Hauser

Copywriter

Markus Ruf

Digital Artist

Michèle Aschmann

HILTL VEGETARIAN RESTAURANT, ZURICH Campaign

DOMINO’S PIZZA Campaign

Agency

MullenLowe SSP3, Bogotá

Creative Direction

Carlos Sánchez, Jonathan Quimbay, Diego Morales

Art Direction

Carlos Sánchez, Jessica Quintero

Copywriter

Diego Morales, Felipe Legarda

POPEYES CHICKEN Campaign

Agency Change, Paris

Creative Direction

Damien Guiol, Samy Benama Art Direction

Damien Guiol Copywriter Samy Benama Photographer Ale Burset

SUSHI

Campaign

Agency

Creamos, Medellìn, Colombia

Creative Direction

Jose Montoya E

Art Direction

Luis García, Lina Garzón

Copywriter

Jose Montoya E

Illustrator

SUSHI MARKET Campaign

Agency Creamos, Medellìn, Colombia

Creative Direction

Jose Montoya E Art Direction

Victor Jaramillo, Lina Garzón

Copywriter

Jose Montoya E

Illustrator

Lina Garzón, Victor Jaramillo

Agency

St. Luke’s, London

Creative Direction

Richard Denney

Art Direction

Pete Mould, Darren Keff

Copywriter

Phillip Meyler

Typographer

Pete Mould

Digital Artist

Richard Green

Agency

MullenLowe SSP3, Bogotá

Creative Direction

Guillermo Siachoque, Jorge Eliécer Pinto

Art Direction

Mario Mendoza, Juanita Vergara Cuellar

Copywriter

Sebastian Tellez, Sara Paz

Photographer

OMO Campaign HOUSE + GARDEN Vol 2/2023 64–65

Agency Uncommon Creative Studio, London Photographer

James Day

Agency Garnier BBDO, San José

Creative Direction

Alan Carmona, Chepe Antillón

Art Direction

Diego Solis

Copywriter

Jordan Ramirez, Javier Venegas

Illustrator

Axel Arias

Digital Artist

Axel Arias

EL LAGAR

Campaign for one of the largest hardware stores in Costa Rica.

Agency

Different, Milan

Creative Direction

Francesco Guerrera

Art Direction

Roberto Ferrario, Davide Stelitano

Copywriter

Massimo Del Monaco

Illustrator

Roberto Ferrario, Davide Stelitano

HORNBACH

Agency Heimat, Berlin

Creative Direction

Guido Heffels, Christofer Kümmerer, Luis Jähner

Art Direction

Christofer Kümmerer, Fabian Lange

Copywriter

Luis Jähner, Lena Möller

Photographer

Max Slobodda

Campaign for the gardening section at the Hornbach chain of DIY stores.

Top left: Stinging nettles are weeds. And also fertilizer, tea, and superfood. – Top right: In the long run, the only remedy against weeds is taking a different perspective. – Bottom left: Plants plant themselves. Which is why they have that name. Bottom right: Perhaps your lawn really wants to be a meadow. – Pay-off: Just let nature do its thing.

Agency Label, Lisbon

Creative Direction

Nuno Rodrigues

Art Direction

Cristiana Mamede

Copywriter

Augusto Pardal, Nuno Rodrigues

Digital Artist

João Pina, André Portugal

COLOURTREND – GENERAL PAINT GROUP

Campaign

Agency

Boys and Girls, Dublin

Creative Direction

Laurence O’Byrne

Art Direction

Bairbre McGlade

Copywriter

Niamh Ryan

Photographer

Roman De Giuli

Typographer

Barry Smith

Agency

The Public House, Dublin

Creative Direction

Colin Hart, Paddy O’Mahoney

Art Direction

Delphine Perret

Copywriter

Karl Graham, Patrick Dunne

Digital Artist

Simon Williams

MUSEUM

Agency Recreo, Mexico City

Creative Direction

Sebastian Díaz

Art Direction

Ricardo Kraken García

Copywriter

Sebastian Díaz

Illustrator

Ricardo Kraken García

MISCELLANEOUS

SMITH’S CASTLE Campaign

Agency

Courage, Providence Creative Direction

Larry Bowdish, Jonathan Plazonja

Art Direction

Larry Bowdish Copywriter

Jonathan Plazonja

Photographer

Arthur Bowdish

Typographer

Larry Bowdish

Digital Artist

Larry Bowdish

Agency

Wunderman Thompson, Kolkata, India

Creative Direction

Senthil Kumar, Arjun Mukherjee

Art Direction

Subhrakanti Mandal

Copywriter

Arjun Mukherjee

Illustrator

Subhrakanti Mandal

Detail:

LINC

Agency

Wings the Agency, Caracas

Creative Direction

Demian Campos, Lauriano Grisotto

Art Direction

Demian Campos

Copywriter

Lauriano Grisotto

Photographer

Eduardo “Lalo” Párraga

Digital Artist

Daniel Mendez

Agency

Leo Burnett, Chicago

Creative Direction

Brian Shembeda, Eduardo Tua

Art Direction

Paco Fernandez, Juan Carlos Montes

Copywriter

Eduardo Tua, Damian Isaak

Photographer

Sisso & Chouela

PURINA DOG CHOW LATAM Campaign

Agency

Abbott Mead Vickers (AMV) BBDO, London

Creative Direction

Andre Sallowicz, Polina Zabrodskaya

Art Direction

Rachel Tweedy

Copywriter

Jamie Chang

Photographer

Sam Gregg

PRUDENCE CONDOMS Campaign PHARMACEUTICALS

Agency

Palm Era, Buenos Aires

Creative Direction

Porto Ignacio, Santiago Álvarez

Art Direction

Demian Veleda, David Namer

Copywriter

Demian Veleda, David Namer

Photographer

Lucas Belintende

Digital Artist

Lucas Belintende

BUSCOPAN, SANOFI Campaign

Hanna’s Pierre Luné mini dress and Wauter purse feel comfortable enough to celebrate a goal, but this time she isn’t in the mood. Her usual IBS has appeared, … She’s aware this discomfort could start to be eased in about 15 minutes, once she’s able to get some Buscopan® IBS Relief right after this session …

Agency

MRM Spain, Madrid

Creative Direction

Félix del Valle, Guillermo Santaisabel, Alejandro Peré

Art Direction

Sergio García, Belén Bardón, Pablo Camarero

Copywriter

Guillermo Santaisabel, Alejandro Peré, Miguel Prieto

Agency VMLY&R, London

Creative Direction

Joyce Christopher Illustrator

Hudson Christie

HANX Campaign

Vaginismus can make penetrative sex painful or even impossible. This Valentine’s Day, let’s talk about it.

Agency

The Leith Agency, Edinburgh

Creative Direction

John McPartland

Art Direction

Debbie Morgan

Copywriter

Mairi Wilson

Photographer

Louise Kendall

ATLANTICK

Agency

Creative Direction

Jenny Smith, Jeff McLean, Terri Roberts

Art Direction

Jeff McLean

Copywriter

Sarah Park, Terri Roberts

Photographer

Michele Ramberg

Agency Innocean, Berlin

Creative Direction

Shelley Lui, Ricardo Wolff, Gabriel Mattar

Art Direction

Saymon Souza Medeiros

Copywriter

Nicolás Montanaro

Digital Artist

Carlos Suarez

CINÉMA DU PARC Campaign

Agency

Les Evades, Montreal

Art Direction

Martin Dupuis

Illustrator

Cristian Robles

Agency

PB&J, Traverse City, Michigan

Creative Direction

Karl Bastian

Art Direction

James Howe

Copywriter

Karl Bastian

CORFERIAS Campaign

Agency

Grey Colombia, Bogotá

Creative Direction

Juan Jose Posada, Oscar Muñoz, Juan Cárdenas

Art Direction

Juan Jose Posada, Oscar Muñoz, Juan David Lucero

Copywriter

Camilo Garzon

Illustrator

Carlos Duque

Answer:

Answer: real.

Top: Visit to the Diamond Mine, 3/26/2023 at 4:34 pm.

fake.

Bottom: Nuclear Weapons Depot, 1/2/2023 at 6:06 am.

Top: US Federal Courthouse, 4/4/2019 at 4:34 pm.

Answer: real.

Bottom: LGBTQIA+ Parade, 6/1/2022 at 11:34 am.

Answer: fake.

Agency

AlmapBBDO, São Paulo

Creative Direction

Marco Gianelli,

Rafael Gil

Art Direction

Mateus Palermo

SPOTIFY Campaign

Agency

media.monks, Bogotá

Creative Direction

Cesar Castaño, David Correa

Art Direction

David Correa, David Gomez, Andrés Torres

Copywriter

Cesar Castaño, Camilo Monsalve, Jaime Andrés Tovar

Illustrator Juan Huertas

DENNER Campaign

Agency

thjnk, Zurich Creative Direction

Alexander Jaggy, Pablo Schencke

Art Direction

Lukas Frischknecht, Josephine Jeanguenin

ZALANDO

Campaign for a second-hand clothing range from online fashion retailer Zalando.

The artworks were made from thousands of pre-owned clothes, all of which were put back into circulation afterwards.

Agency

Demner, Merlicek & Bergmann / DMB., Vienna

Creative Direction

Sebastian Kaufmann

Art Direction

Mario Goldsteiner, Viktoria Mannsberger

Copywriter

Paul Ballot, Maximilian Peleska, Anna Repitsch

Illustrator

Maximilian Mannsberger, Julia Nagl

Agency

David, Madrid, INGO, Hamburg

Creative Direction

Tobias Ahrens, Saulo Rocha, Pancho Cassis

Art Direction

Nicolas Lopez, Fernando Montero, Gonzalo Arica

Copywriter

David Krueger, Ricky Solano, Tomás O’Gorman

Photographer Alberto Escudero

Digital Artist Ricardo Moreira

IKEA Campaign

IKEA

Agency

The Newtons Laboratory, Athens

Creative Direction

Dimitris Vikelis

Art Direction

Alex Brouhard

Copywriter

Eva Marou, Vangelis Garofallou

Photographer

Marios Theologis

Digital Artist

Agency INGO, Hamburg

Creative Direction

Tobias Ahrens, Tomás O’Gorman Art Direction

Nicolas Lopez, Kalle Garmark, Andrea López-Boado Copywriter

MALL GALLERIA Campaign

When she wants nothing, you can find it at Mall Galleria.

Agency Together, Sofia

Creative Direction

Nikolay Stoynov

Art Direction

Sofroni Milev

ECOMAIDS Campaign for a home cleaning service.

Our eco-friendly cleaning approach includes a 64-point checklist.

Agency

Hey Let’s Go!, Boston

Creative Direction

Mike Shaughnessy

Copywriter

Tim Cawley

Photographer

Danny Ebersole

Left: Vacuuming and dusting, of course, figure prominently.

Right: Right down to the last nook, cranny and crevice.

Agency Athos, Santa Cruz de la Sierra, Bolivia

Creative Direction

Fernando Fernandes, Pablo Jove

Art Direction

Fito Chipana Ramos, Alvaro Cuentas Paredes, Ruben Ruiz

Copywriter

Victor William Mendez Ugarte, Mani Cáceres Méndez, Margo Torrico Luján Digital Artist

Daniela Serrate, Adrian Méndez Akamine, Pierina Bibolotti Sevilla

BELLA FORMA Campaign

Agency

The WHOLE Advertising, Shanghai

Creative Direction

Archive Li

Art Direction

Archive Li

Copywriter

Alice Gu

Photographer Archive Li

Illustrator Gang Li

Typographer Gang Li

Digital Artist Gang Li

BODYLASER Campaign

Agency Made Group, Rio de Janeiro

Creative Direction

Luís Claudio Salvestroni, Álvarò Rodrigues Art Direction

Marcos Mendes Tanaka, Sidney Santana

Copywriter

Andre Nunes Bueno

Illustrator

Victor Portella

Typographer

Marcos Mendes Tanaka

Digital Artist

Marc Recco

Art Direction

WELTI-FURRER

Campaign for a fine art transport service.

Agency

Ruf Lanz, Zurich

Creative Direction

Markus Ruf, Danielle Knecht-Lanz

Art Direction

Mario Moosbrugger

Copywriter

Markus Ruf

Digital Artist

Michèle Aschmann

TELEFÓNICA MOVISTAR Campaign

Agency

Havas Worldwide, Santiago de Chile

Creative Direction

Joaquin Bascuñan, Fernando Condeza

Art Direction

Claudio Campisto

Copywriter

Jorge Altamirano, Fabian Cespedes, Ricardo Vera

Photographer

Claudio Campisto

Agency

We Are More, Partille, Sweden

Art Direction

Björn Eklind Copywriter

Johan Nerman Digital Artist

Mathias Lövström

Art

Olivier

Olivier

Agency FCBFRST, Bogotá

Creative Direction

Diego De Pedro, Jairo Rodríguez Art Direction

Maria Paula Camacho Copywriter

Diego De Pedro

STUTTGARTER

Guerilla

for

Park your money somewhere else.

Agency hey David, Stuttgart, Germany

Creative Direction

Philipp Heimsch, Jonas Ruch

Art Direction

Catrin Roth

Copywriter

Manuel Ruch

marketing

the city of Stuttgart’s public transport.

Agency

Havas Worldwide, Prague Creative Direction

Petr Cech, Jakub Kolarik

Art Direction

Pavel Slovacek Copywriter

Zdenek Buchtela

Agency BRAVE, Bogotá

Creative Direction

Edwin Romero

Art Direction

William Martinez Copywriter

Daniel Garzón

Photographer

Luis Felipe Correal Anchique, Camilo Salazar Illustrator

Jonathan Bustos Melendez, Julián David

Getzamha Peña, Gabriel Eduardo Gonzalez

Digital Artist Christian Camilo Fajardo Hernández, Jefersson Andrés Bautista Vega, Javier Alexander Pachón Santana

Agency

Gallegos United, Los Angeles

Creative Direction

Cristian Costa, Iu la Lueta, Pepe Aguilar

Art Direction

Cristian Costa, Margarita Cardenas

Copywriter

Alejandro Estrada

BALLOON BRIGADE Campaign

Balloons are the number one killer of seabirds worldwide. Their impact on dolphins, whales, and turtles is also heartbreaking. The tagline “Always catch. Never release.” encourages people to practice new behaviors so that we can celebrate in ways that are safer for the marine life we all love.

Agency

Arcana Academy, Los Angeles

Creative Direction

Shane Hutton, Lee Walters

Art Direction

Lee Walters

Copywriter

Shane Hutton

Illustrator

Midjourney

FRIDAYS FOR FUTURE Campaign

Agency

Fred & Farid, Los Angeles

Art Direction

Radouane Guissi

Copywriter

Radouane Guissi

Digital Artist

Benjamin Benichou

BRADY

Campaign

Agency

BCW Global, New York

Creative Direction

Fede Garcia, Diego Bertagni, Kelsey Webster

Art Direction

Carolina Dangelo

Copywriter

Clark Davis

Photographer

Vincent Dixon

UNIMED

Campaign

Agency

AMP Propaganda, Aparecida de Goiânia, Brazil

Creative Direction

Antonio Folha, Rafael Escobar, Rodrigo Almeida

Art Direction

Bruno Sousa

Copywriter

Eduardo Pandolfo

Photographer

Bruno Sousa

Illustrator

Bruno Sousa

Typographer

Bruno Sousa

Digital Artist

Agency Intent, Toronto Photographer Daniel Ehrenworth

FEED

Campaign

Agency

Cheil Centrade, Bucharest

Creative Direction

Mihai Gongu

Art Direction

Alina Zaharescu

Copywriter

Miruna Potop

Illustrator

Alina Zaharescu

Digital Artist

Iulia Damaroiu

Digital Artist

Taylor James

SOCIAL

ANIMAL TV Campaign

Agency

DM9, São Paulo

Creative Direction

Laura Esteves, Bruno Anibal, Nina Lucato

Art Direction

Diego Guerhardt, Caio Stucchi-Zucchi, Gustavo Souza

Copywriter Caique Llaguno, Pedro Rosadas, Ygor Silva

Illustrator Rogério Puhl

DUREX Campaign

Agency

Arco Publicidad, San Juan

Creative Direction

Jonathan Diaz

Art Direction

Eduardo Rosado, Edwin Abreu

Copywriter

Agency

The Raised Eyebrow Society, London

Creative Direction

Peter Cain

Art Direction

Dave Dye

Copywriter

Richard Russell

Photographer

Brank Jukic

UNFPA Campaign

Agency HOY by Havas, Caba, Argentina

Creative Direction

Hernan Damilano, Maria Luján Donaire Art Direction

Damian Palopoli, Charlie Meza

Copywriter Santiago Ledesma, Kike Raboy

Digital Artist

Leandro Frizzera

Agency

The Leith Agency, Edinburgh

Creative Direction

John McPartland

Art Direction

John McPartland

Copywriter

Chris Watson

EMMIE’S BOOKS Campaign

Providing

Agency

The Leith Agency, Edinburgh

Creative Direction

Phil Evans, Troy Farnworth, John McPartland

Digital Artist

John McPartland

Agency

McCann Health, New York

Creative Direction

Tim Hawkey, Jorge Munoz

Art Direction

Aaron Alamo, Taya Subbotnikova

Copywriter

Joan Wildermuth, James Tarzian

Photographer

Colin Hawkins

Illustrator

Renan Bulgari

Agency MullenLowe SSP3, Bogotá

Creative Direction

Andrés de la Hoz, Julian Guarin Barkach, Juan David Pardo

Art Direction

Guillermo Siachoque, Juan Camilo

Parra Castiblanco, Ana Maria Velez

Copywriter

Diego Muñoz, Laura Daniela Rey, Sara Paz Bolaños

Digital Artist

Banana Ponch Studio

PONY MALTA Campaign

ANOREXIA

Agency Cossette, Toronto

Creative Direction

Richard RochetteVilleneuve

Art Direction

Nicolas Baillargeon

Copywriter

Nadine El-Whidi Photographer

Agency

Amén McCann, Montevideo

Creative Direction

Ignacio Vallejo

Art Direction

Mathias Gamarra Copywriter

Carolina Gelfont

ALICORP

Melanoma Awareness Campaign

If you have a stain like this, we can also help you remove it.

Agency VMLY&R, Lima

Creative Direction

Christian “Tin” Sánchez, Eduardo Meza, Carlos Fernandez

Art Direction

Fernando Guerra Lima

Copywriter

Kevin Torres

Photographer

Alex Freundt

Digital Artist

Midas Art studio

Agency

Different, Milan

Creative Direction

Francesco Guerrera

Art Direction

Roberto Ferrario, Davide Stelitano

Copywriter

Massimo Del Monaco

Illustrator

Roberto Ferrario, Davide Stelitano

Agency

Imba by Mediabrands, Athens

Creative Direction

Giannis Mpoutas, Xenia Sakellari, Nestoras Kechagias

Art Direction

Angeliki Velisarakou, Maria Thymi

Copywriter

Xenia Sakellari, Daphne Pangidi Digital Artist

Michalis Lygkiaris

LEASEPLAN GREECE Campaign

Agency

Havas Group Peru, Lima

Creative Direction

Mauricio FernandezMaldonado, Moises Urrutia

Art Direction

Moises Urrutia, Luis Rios

Copywriter

Juan Carlos Gallardo Vargas

Agency Scholz & Friends, Berlin Creative Direction

Art Direction Matthias Spaetgens, TUI Campaign

The most enjoyable way to explore the Azores.

P&O FERRIES Campaign

Agency

Publicis Poke, London

Creative Direction

Steve Paskin, Dave Monk Art Direction

Rhys Hughes

Copywriter

Nigel Roberts, Barret Helander

Photographer

Lulu Ash

Digital Artist

Prodigious

GOL LINHAS AÉREAS Campaign

Avoid unpleasant company.

GOL premium economy with blocked middle seats.

New times on air, always.

Agency

AlmapBBDO, São Paulo

Creative Direction

Luiz Sanches, Marco Giannelli Pernil

Art Direction

Rafael Gil Copywriter

Bruno Pereira, Rodrigo Almeida

Agency Uncommon Creative Studio, London Photographer Emily Stein

VIAJES ÉXITO

Orlando theme parks campaign.

Agency Sancho BBDO, Bogotá Creative Direction

Andres Lancheros, Jose Ariel Hernández, Mario Lagos, Fernando Hernández, Camilo Torres

Art Direction

Fredy Beltran, Michael Hurtado, Nicolás Gaitan

Copywriter

Juan Pablo Ospina, Juan Sebastián Fuentes, Sebastián Tovar

Photographer

Pocho Giraldo

Digital Artist

Fredy Beltran

Rankings 2023

The race is on

The competition to sit atop our 2023 rankings at Lürzer’s Archive has already begun. Everything that gets selected for our archive – whether shown in print and/or online – is gathering points towards featuring in our 2023 results. The work in this issue alone racks up quite a few more points for many agencies and individual creatives.

The reigning 2022 agency champions are Mother in London but who knows who will come out on top in 2023?

In the points race for 2023, new contenders are fast-emerging. Should you be among them? You know what to do … submit the work! For sure, Adam Hessel at Ogilvy Health knows to put his work to the test. That’s why he took the 2022 top Creative Director title, and his agency is also riding high in the rankings too.

However, as said, it’s all up for grabs again. We may be taking a brief hiatus from publishing the ongoing rankings but points will continue to accrue. We plan to be back with the new rankings in the second phase of our new website, in time for the year-end grand total.

A big question

And that leads us on to point out that we are currently taking soundings around the creative industry as to how to further improve our rankings. What do you want to see? How do you want the rankings to develop?

We are known for having a refreshing difference as to who gets noted. We want to retain that and build out the credibility across key creative disciplines of today. As it is free to submit to Lürzer’s Archive, there’s no weight of awards budget dictating who walks off with the biggest honors. Instead, the work always speaks for itself. For example, check out the terrific performance of The Newton Laboratory from Athens, which has emerged as a hot boutique in our listing. No fear or favor dictates who gets in. We have many less familiar names and the ranking is all the better for being refreshingly informative.

… just do it

So please remember to submit (using the submissions engine on our site) and be sure to share any thoughts you have on how rankings can better serve you and your industry. Do drop us a line … rankings@lurzersarchive.com.

Film [144–151]

PORSCHE

Taycan Arcade

To prove the handling and accuracy of the Porsche Taycan, two drivers in controlled conditions rally back and forth against a drone in what is revealed to be a giant game of arcade tennis. The ambitious stunt from DDB Group Melbourne acts as a fun demonstration of the engineering behind the Taycan.

Agency

DDB, Melbourne

Creative Direction

Giles Watson, Psembi Kinstan

Art Direction

Becky Morriss

Copywriter Jake McLennan Director Jolyon Watkins Production AIRBAG

SAMSUNG

Flash Sucks

With the use of camera technology at our whim, it is easier than ever to capture special moments in life. Although these moments can become increasingly obscured by flash photography, Samsung aims to put a stop to that distraction with the introduction of new Light Boost technology.

Agency

Mother, London Director Jake Dypka

Production

Agile Films

VOLKSWAGEN

Laundromat / Touareg Dry Cleaning

While a canny older couple watches from their dry-cleaning business, several people struggle to emerge from tight parking spaces without sullying their clothes. This seems to work well for the couple, as every dirty clothes item means business for them. That is until the Volkswagen Touareg is revealed with remote guided parking assistance.

Agency

DDB Voltage, Berlin

Creative Direction

Thomas Koch, Heitor Buchalla, Sascha Dudic

Art Direction

Heitor Buchalla Director Kay Kienzler Production Film Deluxe

MERCEDES-BENZ

International Women’s Day 2023 – Be one of many

To mark International Women’s Day, Mercedes Benz shows what it means to be exceptional in the automotive industry. The spot pushes for equality in industry and for women to not be celebrated for being the only female in their field, but one of many.

Director Fiona Jane Burgess Production Smuggler

MILLER LITE

The Good Shit

In a coy deconstruction of yesteryear’s often chauvinistic beer campaigns, this film features Broad City’s Ilana Glazer listing everything wrong (or sh*t) with past advertising. As a rebellion to years of bikini-clad women in beer commercials, Glazer shows these distasteful works being used for something tasteful … as they are mulched into fertilizer for hops.

Agency

Alma DDB, Miami

Creative Direction

Christian Liu, Jorge Murillo, Alvar Suñol

Art Direction

Maia Swift, Vanessa Castaneda, Gloria Martinez Copywriter

Martín De Ferrari, Raquel Chisholm, Luis Nunez

Director Pete Marquis Production Strike Anywhere

MCDONALD’S

Food Truck Billboard

In a canny mix of DOOH advertising and street food culture, McDonald’s Sweden has introduced the Food Truck Billboard. To promote their new fried chicken burger, customers scan the QR code on the billboard and the digital chef “prepares” their order by sending it to the nearest McDonald’s outlet.

Agency

Nord DDB, Oslo

Creative Direction

Petter Dixelius, Joel Ekstrand

Art Direction

Josefina Norén

Copywriter

Fabian Luthander

Director

Mikael Marcimain

Production B Reel Films

GUINNESS

Make it a St. Patricks Day to Remember

Taking a unique route of advocating for responsible drinking, this campaign shows animated pints of Guinness lip-syncing to the Bonnie Tyler hit “Holding Out For A Hero”. The campaign, featuring the singing pints, was released by AMV BBDO ahead of St. Patrick’s Day.

Agency

AMV BBDO, London

Creative Direction

Nadja Lossgott, Andre Sallowicz, Nicholas Hulley

Art Direction

Colin Jones, Scott Kelly, Sergio Takahata

Copywriter

Phil Martin, Nellie Santee

Director

Scott Kelly

Production Red Studios

CADBURY

Confuseing Controllers

In a campaign that may enrage parents the world over, this sneaky concept for Cadbury Fuse by Ogilvy India and Wavemaker India involves hiding a video game remote in a book. While children may be looking extra studious, they are really playing their favorite game, courtesy of the ConFuseing Controller.

Agency

Ogilvy & Mather, Gurgaon, India

Creative Direction

Chinmay Raut, Akshay Seth

Art Direction

Chinmay Raut

Copywriter Akshay Seth Director

Siddharth Agnihotri Production Wavemaker

STELLA ARTOIS

Table Drop

The latest spot for Stella Artois by Anomaly shows how the premium lager can bring people together with dramatic flair. As a woman sits at her dining table eating alone, the table suddenly drops through the floor to her neighbor’s apartment below. As the table keeps dropping into new apartments, bringing with it new friends, we see the neighbors unite and embrace the unexpected moments that Stella Artois can bring.

Agency

Anomaly, Toronto

Creative Direction

Dave Douglass, Neil Blewett

Art Direction

Naobie Noisette

Copywriter

Neil Blewett, Mike Johnson

Director

Mark Zibert

Production

Scouts Honor

BURGER KING

We Give Up

With a sly tongue-in-cheek charm, Burger King’s new campaign by Bartle Bogle Hegarty acknowledges the public’s preference for the Chicken Royale (to the detriment of the beef Whopper). With slick production values, we see characters from different eras, between the 1960s and the 2020s, blatantly ignoring promotion for the Whopper to get their Chicken Royale fix.

Agency

Bartle Bogle Hegarty (BBH), London

Creative Direction

Helen Rhodes, Felipe Guimaraes

Art Direction

Jennifer Ashton

Copywriter

Oliver Short

Director

The Sacred Egg

Production

Riff Raff

AMBEV / AKQA

Beck’s 70+

In a fun reversal of age restrictions for underage drinkers, AKQA partnered with Beck’s to create Beck’s 70+, a limited-edition beer made solely for the seventy and above age bracket.

Agency

AKQA, São Paulo

Creative Direction

Matías Menéndez, Rodrigo Barbosa

Art Direction

Marcos Lee, Luisa Gabaldi

Copywriter Leo Razera, Arlindo Christian Director R Enan

Production Sicarios

ROBINSON DEPARTMENT STORE

The Air Drummer

Thai agency Wolf BKK brings a zany approach to this story about a girl who has a passion for drumming … despite the lack of an actual drum kit. Her mother, who watches her daughter air drumming with fervor, rushes out to the nearest department store. Her purchase proves you can’t always get what you want, but your mother will get you what you need.

Agency

Wolf, Bangkok

Creative Direction

Nopharit

Dusadeedumkoeng

Art Direction

Kanyaporn

Longprasert, Smita Tronglakkana Copywriter

Yarinda Ketjumpol

EASTPAK

Built To Resist

In supremely stylish fashion, this campaign for lifestyle brand Eastpak sees a group of young people on Mars-like terrain. With slick visuals, the film shows how the luggage and backpacking company can help you effortlessly travel to amazing locations.

Agency Mutant, Antwerpen

Creative Direction

Odin Saillé

Art Direction Usman Abdul

Director Maky Margaridis, Tristan Feres Production BLEUNUIT

Director

Nawapol

Thamrongrattanarit

Production Happy Ending Film

DISCO

Law Better

DISCO, an AI-driven legal technology company, has bluntly asked law firms to “Law Better” by having Lady Justice herself address the message. As she steps down from her plinth, Lady J exhorts the downtrodden workers to adapt to modern technology instead of using their old, ineffectual software.

Agency

BigSmall, London

Creative Direction

Will Flack

DUBLIN SIMON COMMUNITY

Unfair City

This affecting film from BBDO Dublin for Irish homelessness charity Dublin Simon Community, tells the story of Justin Cannon. Justin’s former life on the streets is vividly recounted using watercolor animation created via AI.

Agency

Irish International

BBDO, Dublin

Creative Direction

Robert Boyle, Shane O’Brien, Eoin Conlon

Art Direction

Adriano Eliezer, Vinicius Bustamante Copywriter

Eoin Conlon, Donal Gaughran

Production

Lobo Production

ALMUNAYES TEA

The Sound of Tea

Director Clay Weiner Production Biscuit

During the season of Ramadan, there are restrictions to advertising food and drink (for obvious reasons). To bypass this, Kuwait agency Beattie + Dane cleverly meshed the sound of tea being slurped with various unrelated motions such as a car’s window wipers and a door being opened.

Agency

Beattie+Dane, Kuwait

Creative Direction

Anes Al-Rayes

LACOSTE

Impossible Encounters

For Lacoste’s ninetieth anniversary campaign, the global clothing brand shows how style can traverse cultures and continents. Through effective use of split screen, we see people from around the world acknowledge each other, from urban youths in São Paolo to a group of elderly golfers in Miami, highlighting the worldwide connections Lacoste can make.

Agency

BETC, Paris

Creative Direction

Florence Bellisson

Art Direction

Agnes Cavard, Joachim Touitou

Copywriter

Antoine Gauquelin, Symonne Torpy Director

Yoni Lappin Production COLORS

QROMA / VENCEDOR

Celeste

This touching story for Peruvian paint brand Vencedor follows a grandfather who moves in with his son after his wife passes away. Despite the attempts of his son and granddaughter to cheer him up, he remains stricken with grief. The granddaughter notices that his late wife’s favorite color was blue. They paint his room a shade of light blue, which brings him to tears, displaying the emotional impact that colors can have on our lives.

Agency Circus Grey, Lima

Creative Direction

Gonzalo Aste

Art Direction

Miguel Ucañan

MAGNUM

#NotAvailableInTheMetaverse

As impressive as virtual reality can be, some realworld pleasures cannot be replicated, such as the enjoyment of a Magnum ice cream. The cyberpunkstyled campaign follows avatar Luna, who uses a VR headset to get away from her virtual dystopia. Upon entering the real world, she finds that some delights are not available in the metaverse.

Agency

LOLA MullenLowe, Madrid

Creative Direction

Tomas Ostiglia, Jorge Zacher, Kevin Cabuli

Art Direction

Yan Graller, Pedro Menzzini

Copywriter

Augusto Callegari

Director

Martin Werner

Production

Bacon CPH, Proppa

HORNBACH Spring

With visceral visuals of nature at work, DIY chain Hornbach has taken a unique approach to its Spring campaign … “let nature do the job”. The campaign argues that leaving your garden to grow naturally, without interference, can bring its own beauty.

Agency

Heimat, Berlin Creative Direction

Guido Heffels, Christofer Kümmerer, Luis Jähner Art Direction

Christofer Kümmerer, Fabian Lange

Copywriter

Luis Jähner, Lena Möller Director

Hauke Hilberg Production Czar

BBC BITESIZE

Unicorn / Don’t Learn Off Randoms

To warn students ahead of exam season about the dangers of unverified information on the internet, this quirky campaign by BBC Creative takes the absurdity of misinformation to new levels. From the essentials of unicorn anatomy to iguana-based conspiracy theories, the campaign pushes students to use exam board-approved BBC Bitesize to revise.

Agency

BBC Creative, Manchester

Creative Direction

Copywriter Percy Rocha Director

Emiliano Cruz Lopez Production

Rebeca

Art Direction

Steven Lownes

Copywriter

Aron Sidhu

Mark Williams, Rasmus Smith Bech

Director Bine Bach Production

BBC Creative

SWITCHBOARD LGBT + The Call

In this hard-hitting short film, designed to launch Switchboard LGBT+’s first free helpline, we see a young man struggling with his sexuality. With the help of the new service, we can see how empathy can be crucial for the queer community.

Agency

Rankin Creative, London

Creative Direction

Jordan Rossi

Art Direction Sooyoung Hahn

Copywriter

Jordan Rossi Director

Jordan Rossi

TEARFUND

We Built the Town

In a reaction to the often-patronizing way that charity appeal ads can appear, the villagers of Burundi make clear that they independently enhanced their community, without the help of external charities. This ties in with Christian relief agency Tearfund’s ethos of giving people the tools they need to improve their communities.

Agency

Don’t Panic, London

Creative Direction

Rick Dodds

Copywriter

Rick Dodds

Director Dawitt NM

Production Friend London

NHS ENGLAND Ribbon Dancer

M&C Saatchi turns a serious subject (bowel cancer testing) into something both light-hearted and life-affirming. As a man in his fifties uses a toilet roll as a ribbon akin to a gymnast, he dances freely around his house and garden. The narration at the end of the film from NHS England reminds us that, if we receive a bowel cancer screening kit, to put it to use.

Agency

M&C Saatchi, London

Creative Direction

Tom Kennedy

Art Direction

Ed East

VANISH

Me, My Autism and I

With direction from Oscar winner Tom Hooper, this sensitive film for Vanish follows Ash, a young student with autism. While Ash is talented at math and drawing, she can become overwhelmed by human contact. Clothes like her hoodie can become emotional lifelines. Vanish is dedicated to not only making clothes last longer but bringing awareness to autism.

Agency

Havas Worldwide, London

Creative Direction

Elliot Harris, Nick Rowland, Vicki Maguire

Art Direction

Sasha Midgley, Hollie Iles

Copywriter

Hollie Iles, Aly Marx-Blackwell

Director Tom Hooper

Production Smuggler

Copywriter

Amy Parkhill Director

Si& Ad

Production Academy Films

FREE NOW

Free City

London agency BMB utilizes zoetropestyle animation to portray an escape from repetitious monotony, as the female protagonist uses mobility platform FreeNow to achieve newfound freedom.

Agency

BMB, London

Creative Direction

Will Marsden,

Jordan Down

Art Direction

Joe Lovett

Copywriter

Jack Snell

Director

Dean Robinson

Production

Electric Studios

GERMAN ROAD SAFETY COUNCIL

No Answer

In a well-produced parody of modern thrillers, we see a father concerned about his daughter’s disappearance after she fails to answer her phone. With Hollywood-inspired cinematography, the climax of the film points less to big screen thrills and more to basic road safety.

Agency

Scholz & Friends, Berlin

Director

Francois Rousselet

Production ANORAK Film

TANGERINE

Jumping Through Hoops

In the dreary world of this film, jumping through hoops is not only a phrase but a way of life. After our protagonist monotonously jumps through metal hoops in his work and home life, he climbs a (literal) corporate ladder to more optimistic heights. This all works as a visual metaphor for the simplicity that Tangerine brings to digital banking.

Agency

Rethink, Vancouver

Creative Direction

Randy Stein, Aaron Starkman, Mike Dubrick

MACPAC

This Is A Bit Precarious

An unlucky group of hikers who dangle from a cliff’s edge seem unperturbed by their impending doom. However, they aren’t concerned about their deadly situation due to the strength and quality of their outdoor clothing, provided by New Zealand apparel brand Macpac.

Agency

The Monkeys, Melbourne

Creative Direction

Hugh Gurney, Joe Sibley

Director Damien Shatford Production The Sweetshop

Art Direction

Max Bingham

Copywriter

Brendan Scullion

Director

Nick Ball

Production OPC Production, MJZ

RECYC-QUEBEC

Summit

In what appears to be a group of mountain climbers scaling a steep terrain, the reveal of the spot shows that the mountain is a large heap of accumulated waste. The climbers dump more trash on the mass when they reach the summit. Using this powerful visual, Canadian agency Cossette and Recyc-Quebec wish to raise awareness for responsible consumption.

Agency

Cossette, Montreal

Creative Direction

Richard

Rochette-Villeneuve

Art Direction

Baillargeon Nicolas

Copywriter Sebastien Forget Director François Jaros Production 4Zero1

AMNESTY INTERNATIONAL Powered by AI

In a time where artificial intelligence is increasingly invading and enhancing our lives, we are reminded by this multimedia campaign that the only A.I. that counts for human rights development is Amnesty International.

Agency

Bar Ogilvy, Lisbon

Creative Direction

José Carlos Bomtempo, Joao Amaral, Nuno Rica

Art Direction

António Duarte

Copywriter João Freitas Production Jungle Corner

DOVE

The Cost of Beauty

The pursuit of beauty and the harmful impact social media can have on young people is poignantly portrayed in this spot for Dove by Ogilvy. Through real archival footage of a young woman called Mary, we can see in real-time how the happiness and confidence of a child can potentially be damaged by what is viewed on social media.

Agency

Ogilvy, London / Toronto / New York

Creative Direction

Daniel Fisher

Art Direction

Luke Woodard

Copywriter Morgan Starr Director Henry Alex Rubin Production Smuggler

B&Q

Prices. Nailed

In this stylish 60 second film for DIY chain B&Q, garden and home improvement items float suspended in the air. Each item is tied by a piece of string to the ground, symbolizing B&Q’s pledge to keep prices grounded this spring during the cost-of-living crisis.

Agency Uncommon Creative Studio, London

Director The Glue Society

Production Revolver, Biscuit filmworks

POND’S MEN

The Oily Warrior

In a light-hearted alternate history from Ogilvy Singapore of the origin of the “air kiss”, we are shown a cave-dwelling tribe who receive a ritual kiss on the cheek from their chieftain. When one exceptionally greasy soldier approaches, the chief pauses before offering an air kiss. The spot advises using Pond’s Men to properly moisturize, ensuring the approval of your clan leader.

Agency Ogilvy & Mather, Singapore Creative Direction Ria Ocampo, Sonali Ranjit, Rachel Chew

Copywriter Cessita Putri Director Ayappa Production Earlyman Film

EXIDE INDUSTRIES LIMITED

The Moving Canvas

To display the interconnection of India’s locales, Wunderman Thompson India has created “The Moving Canvas” for Indian automotive battery brand Exide. The use of the battery brings the people of India together and keeps the country moving, which the film shows with vibrant animation incorporating many indigenous art forms.

Agency

Wunderman

Thompson, Kolkata

Creative Direction

Senthil Kumar, Arjun Mukherjee

Art Direction

Sourish Mitra

HARRY’S

Feel Good, Fellas

During a meeting, a businessman becomes obsessed with his colleague’s precision in peeling a satsuma. He shares his fascination of the younger man’s fruit peeling skills with everyone he meets (including the local janitor). This eccentric campaign compares the act to the smooth action that Harry’s shaving kits can offer.

Agency

The Or, London

Creative Direction

Charlene Chandrasekaran, Dan Morris

Art Direction

Jacob Helström, Dylan Hartigan

Copywriter

Arjun Mukherjee

Director

Arjun Mukherjee

Production

Wunderman

Thompson

Copywriter Tom Snell, Amy Fasey Director

Max Sherman Production Somesuch

CERHOM

Dickpic Diagnostic

While an alarming percentage of young men fail to visit the doctor for testicular cancer check-ups, they seem to have no problem sharing nonconsensual intimate pictures to women on dating apps. To address this phenomenon, Dickpic Diagnostic uses fake online dating profiles to prevent testicular cancer and to highlight the danger of unsolicited naked pictures.

Agency

TBWA, Paris

Creative Direction

Benjamin Marchal, Faustin Claverie

Art Direction

Lena Monceau, Julia Deshayes

Production

\Else

TINDER

Going All The Way

Opening with shots of sultry gazes, this spot for dating app Tinder shows a couple kissing so intensely that the room begins to transform as gravity is defied. The throes of their passion is so intense, the couple begins to levitate. This fun and sensual campaign demonstrates how using the app can lead to mind-bending, out-of-this-world experiences (if you’re lucky).

Agency

Mischief, New York

Creative Direction

Greg Hahn, Kevin Mulroy, Bianca Guimaraes

Art Direction

Eleanor Rask

Copywriter

Trevor Joplin

Director

Los Perez

Production Biscuit Filmworks

ICELANDAIR

Easy to stop, hard to leave

While a layover may seem like an annoying but crucial part of travel, this charming spot for Icelandair by Pablo London shows that travelers may not want to continue to their final destination. With stunning visuals of Iceland, the film shows Oliver, a passenger waiting for his next flight, go missing. A mix of local characters look for him, while Oliver is shown content to stay and savor the country’s natural beauty.

Agency

Pablo, London

Creative Direction

Dan Watts

DISASTER EMERGENCY COMMITTEE

Never Alone

Enhanced by a poignant rendition of You’ll Never Walk Alone, this spot from Don’t Panic and Stink Films marks the anniversary of the start of the war in Ukraine. Having the cast sing while looking into the camera in war-torn settings adds more weight to an already emotional song intimately tied to community.

Agency

Don’t Panic, London

Creative Direction

Rick Dodds

Director

Rick Dodds, Leo Maguire

Production Stink

NIKE X CORTEZ

Rules The World

Production company Division in collaboration with streetwear brand Corteiz dramatizes the frenzied reaction to the Nike Air Max 95 release. The spot is presented in a breaking news story style, showing reporters from around the globe discussing the release (as well as star cameos like Manchester City player Phil Foden and R&B singer Jorja Smith).

Director

Walid Labri

Production Division

Director Sam Hibbard Production Somesuch

WHO GIVES A CRAP

Uncrap The World

Bringing levity to a serious matter, eco-friendly toilet paper brand Who Gives A Crap insists that our future rests upon our cheeks (literally). While the making of traditional toilet paper results in the destruction of one million trees every day, this campaign asserts that we should opt for environmentally friendly loo roll.

Agency

72andSunny, Sydney

Creative Direction

Luke Martin, Genevieve Hoey

Art Direction

Alexandra Antinou

Copywriter

Genevieve Hoey

Director

Stefan Hunt

Production

Exit Films

As Global Chief Creative Officer of Huge, Fura Johannesdottir has come a long way from her childhood summers spent on an Icelandic farm. After a degree in psychology, she moved to New York and studied at Parsons School of Design. From there she found her way into a starry and long career at R/GA, followed by a spell at Publicis Sapient before landing her current role. She opens up about her experience in the creative industry and the challenges of major change at the one-time digital pioneer that has transformed into a creative consultancy focused on unlocking growth for clients.

Inside the Huge change

1nothing.tech is a startup with a suite of products for which Huge helped create digital identity, launch the website and launch the first product, new earphones.

2For Tommy Hilfiger, Huge created the “Tommy Factory+Me” pop-up experience where customers can customize and style an outfit in-store, then film themselves and share on social.

3Block/Space was an experiential activation at SXSW 2022 created by Huge for Tezos, showing the in-crowd how blockchain is changing culture, from art to fashion, collectibles to digital identity.

L[A] So where are you from?

FJ I’m from Iceland. I moved to New York in 2003. I was there for 11 years and then I moved to Stockholm for two years and then I came to London, where I have been for about seven years.

L[A] How many offices does Huge have?

FJ In 2021, Huge moved to a fully-flexible working model and by 2022, we had closed most of our 13 physical offices, but we have talent working across North America, Europe, Asia, Australia, and Latin America.

L[A] What’s in Colombia? That seems to be an outlier.

FJ We have around 100 designers there and a lot of technologists as well.

L[A] Is it a good place to hire people?

FJ It is. It is great, filled with lots of exceptional talent. It used to be even better but more competitors have moved into the market, and then Apple and big tech. In the beginning, we had no competition. [Laughs]

L[A] You have a farming background from Iceland, yes?

FJ My grandparents used to ... I spent all of my summers at the farm. Then I bought the house a few years ago and I’m renovating it. I don’t own the farmland.

L[A] That’s a nice project to have.

FJ It’s amazing because it is physical labor but also with design elements.

L[A] You do the physical stuff yourself?

FJ We’re doing it, me and my brothers and my parents, fixing the house.

L[A] As an adult, your longest period would have been in New York so far?

FJ I was in Iceland for a few years professionally. Only three years, I guess, working in this industry. Then 11 years in New York.

L[A] How big was R/GA when you joined?

AI helped Huge develop a “visual manifestation” to launch Viva Magenta, the 2023 Pantone Color of the Year. Hundreds of images – celebrating an “unconventional color for unconventional times” – were generated for the multi-channel campaign.

FJ Probably around 300 people. We were just in one building. Bob Greenberg was a fantastic leader. He’s very bold. Shortly after I joined, that building started to really fill up and we started to move around and open up different floors in other buildings. That was in 2005, a long time ago!

L[A] You were there for quite a while.

FJ I was there for a really long time. I was very lucky. No one would hire me today with what I had brought to the table. Because of that, I look at talent quite differently than many others. I don’t think it’s necessarily about being able to do the technical work because you can always learn that. What’s more important is that you are open to people who are not afraid of experimentation and exploration. I don’t know why they hired me. My portfolio was a mess.

L[A] How do you spot that in somebody?

FJ You may see with the talented, that they’re brave. They’re not afraid of doing something stupid. Sometimes they have good insights and rationale for why they made a decision that they did, even though the execution might have not been the right one. This bravery is something that I look for because all designers need to be conceptually brave and strong. Lately, designers, specifically digital

designers, have been taught the craft, the execution process. There is a method to everything and there are best practices and they follow that like it’s a ritual. I want something a bit more spicy. l prefer people who surprise me in the interview. You hire the attitudes and you hire the mind and, obviously, they usually have some kind of execution skills. It’s specifically true for what I call ‘experience designers’. Perhaps it’s more difficult with visual design because that is such a fine craft.

It’s almost like the people I am looking for have a bit of foresight. The best people out there are people who are obsessed with the future, obsessed with what’s next and how that’s going to shape the next wave of creativity. There are three elements that are core to really strong creatives. It is obviously the craft itself, the root craft that they have, whatever that might be, and lastly, the writing. But the other thing is a business mindset. I don’t think that’s looked at often enough. For instance, are you someone who understands businesses and how they operate? At the end of the day, our job is to grow business, to find some kind of growth. If you don’t have that element, that’s a miss. And I want to see in creatives this drive for innovation, this fearless creativity that needs to be at the core. That’s often the missing piece.

L[A] So let’s bring the conversation to how you apply this thinking in the present. Tell us what you’re working on at Huge.

FJ Huge has been on an enormous 18-month journey, transforming from a digital design agency into a creative consultancy. We have been turning every stone around. With this, we have shifted to a global structure and by the end of 2022, we had closed most of our 13 physical offices. We now operate on a fully-flexible workplace model which allows talent to thrive in a manner that best suits them. With this, we saw the opportunity to open a Global Experience Headquarters, which will open in the Brooklyn Navy Yard in New York in 2023. We have also productized our company, meaning that we have methods to do things. Instead of reinventing the wheel every time, we have pre-packaged offerings that drive substantial and sustainable growth for clients, with data and insights at the forefront. We have just really rethought everything. Another example of this is my decision to merge the creative team into one team.

L[A] How many people are involved in this?

FJ Around 1,200 talents have been involved in the transformation. Personally, it’s been one of the most difficult things I’ve ever done in my life. It’s really born out of realizing that agencies as they are today are not working and the model is broken. We have no time to innovate and creativity has been suffering as a result. We needed to reinvent ourselves to get out of this and we did this by adopting a productized approach, focusing less on the number of hours or the talent placed on a specific project, but rather the outcomes and tangible business results.

L[A] When you think of some of the best creative agencies, or highly creative companies in any sector, they are in a position where the clients know they want to work with the company for its outcome, not the price.

FJ Yes, it is the outcome that must be committed to. So why are we squeezing talent? As a client you need to know what the outcome must be and what it will cost, but not how many people you have working for you in the agency or time spent. You don’t need to dictate the team or handpick the talent because we will do that. That’s our job. We are the experts. As a business, and in the creative industry, we need to get out of the grinder, to be honest.

L[A] How do you structure your creative offerings and team for this new way of working?

FJ I’ve super-simplified this into three areas. The first thing is around a new value proposition creation. That’s about helping companies, whether it’s connecting with a new audience or introducing new service offerings. We have to look at how we define this, package it up and build confidence with the client that they know that they’re going to get real business results.

The second thing is really around the new frontiers because the technical world is changing so fast right now. How are you going to take them into a world where they can consider the impact of generative AI and blockchain? I think NFT was the wrong conversation to have. Blockchain is not going away, nor will whatever the metaverse is going to be. Apple has now come out with its new headset … is their whole world about to change? It’s our job to help clients navigate new frontiers that can drive growth for the business.

And then we have to be able to help our clients adopt and change because the whole landscape might be shifting. Will they even need a website? Connected to this is the idea of creating stronger, more relevant connections between brands and customers. So, probably not a banner ad here or an out-of-home there. How do we connect to customers in this brand-new world? It will be a whole different way of doing it. Of course, this doesn’t mean that we’re not doing a whole lot of websites right now. [Laughs]

L[A] How do you have a team that is able to deliver on this thinking?

FJ You must have magical people on the team to lead the way who already possess this way of thinking. I think people who are passionate about creativity, they’re always going to be curious. At Huge, I’ve structured the team into core crafts: storytelling, experienced designers, which include those more of a systematic thinking, and business designers, who obsess about sustainability and sustainable design. Then the third craft is the visual design team, the pure craft which goes all the way from brand designers to interface designers and everything in between. That’s how I’ve set up the team. And I have this thing that we call the Edge Collective.

L[A] Is this a bit of an elite group?

FJ Not elite, but they’re the navigators. Their job is to inject thinking straight back into the teams. They sit in the design communities and their job is to be back and forth so that we may get people across the whole company to adopt and change. Everybody wants to be innovative and creative at the end of the day but sometimes they are stuck.

L[A] How?

FJ Sometimes they’re stuck in production work. And production work is increasingly going to go away. So they need to pivot. This is a strategy to help them.

L[A] What’s going away?

FJ Banners, websites, and even phone applications. The creatives need to push harder now than they’ve ever done before because the day-to-day job is changing drastically. I think it’s actually a great time. I feel like we’re back in the year 2000 a little bit where everything is new and you have no idea how it’s going to turn out but you have to embrace it. That’s really the journey that we’re on, which is to redefine creativity around those areas. As I said, we’re still doing a lot of websites. We still do advertising. But how will this look like a year or so from now? Probably very different. Very different. Regardless, at the end of the day, this transformation is very much client-centric and more broadly human-centric. By this, I mean that both the needs of businesses and their users are changing, and with that, it was critical for us as a company to adapt and provide new solutions that generate long-term growth.

Fura Johannesdottir is Global Chief Creative Officer of Huge.

Books to study The

Podcasts to listen to

Pivot Podcast with tech journalist Kara Swisher and NYU

Professor Scott Galloway

Hard Fork from The New York Times

Seriously Superficial

FASHION BEAUTY+

170,000 years young

Our latest special report draws on the resources of our world-famous archive to explore the question: does fashion and beauty advertising play within different creative rules?

Many sources will tell you that the founding father of fashion is Charles Frederick Worth, an English dressmaker, who in 1858 established a salon in Paris to sell his haute couture. He is said to be the first to have sewn labels with his name into the dresses he made. His brand later expanded into producing ready-to-wear garments and also perfume. The template for integrated fashion and beauty brands and business empires was laid and now thrives globally today, even if House of Worth itself closed in the 1950s.

Worth was far from alone in these business efforts but he was perhaps the very best at being a magnificent self-promoter. He knew the value of dressing the celebs 150 years before today’s red carpet showcase … Lillie Langtry, Nellie Melba and Sarah Bernhardt all wore Worth.

Let’s not lose sight of how our species has been wearing clothes of some kind since approximately 170,000 years ago. Given human nature, we might guess that soon after somebody thought to cover themselves in something, somebody else decided to do it a little differently. And so on. And then somebody else started specializing in whatever it was that helped keep us warm or cool, more protected or more attractive. And so we get to our Prada and Zara, even without Mr Worth’s myth-making.

As to the origins of the beauty industry, we can see evidence that Egyptians of all genders and none were definitely applying perfume and makeup about 6,000 years ago. That would have spawned a commodified and then quickly de-commodified industry, to feed the choices. As with now, ancient Egyptian social class was in part differentiated by the different quality of lavish pots that people could afford to have their makeup dispensed from.

And so, for all that highly advanced technologies may be applied to fashion and beauty today, at root there are fundamental forces at work. These industries and their marketing are sometimes criticized for being superficial and wasteful, and yet they can be seen as a mirror to the depths of our shallow souls. There are few things more intimately human and value-laden than fashion and beauty. These are industries that are immense and vital and their communications are pioneering and truth-telling, truth-revealing, for all their often absurdities.

The following pages feature some of the best from our archive, juxtaposing the works with suggested answers to the question of whether fashion and beauty advertising creativity dances to the same or different rules. On our final page, we summarize the evidence and pronounce the verdict.

Many sources will tell you that the founding father of fashion is Charles Frederick Worth, an English dressmaker, who in 1858 established a salon in Paris to sell his haute couture.

Fashion and beauty codes force creativity to its most essential way of communicating. Hardly any words, just visuals. A total synthesis expressed just in a picture, a color, a treatment. At the same time, we always admire how certain brands evolve and push boundaries. For creatives, it’s a fantastic exercise and a complex one to get right. In addition to this, fashion and beauty brands are often playing to the codes of culture. It’s like a treasure hunt of cultural savviness in which you need to be the first to find all the Easter eggs hidden in a brand’s narrative. Models, celebrities, location, backdrops, collaborators, media placement, it’s all part of curated culture.

Costanza Rossi Head of Art Grey, London

1 L[A] 3/2011, Mugler in-house, Paris

2 L[A] 3/2014, FP7/DXB, Dubai

3 L[A] 6/2018, L’Associé, Paris

4 L[A] 3/2014, Peter Lippmann, Client: Louboutin

5 L[A] 6/2016, Duval Guillaume, Brussels, Publicis 133, Paris

6 200 Best Photographers 2016, Adam Balcerek

7 L[A] 3/2012, Sisley in-house, Treviso, Italy

The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

Like art, fashion is a form of self-expression. It is both expressive and intimate. A great campaign image needs the ability to seduce, allure and create desire for the audience. The best campaigns don’t require copy because they clearly tell you what you are looking at; yet like a memorable painting, it leaves space for imagination. No explanation, no clever copy needed. For example, the flowing movement of a silky fabric can make you feel a summer breeze against your body. The distinct color blocking of a garment will tease and teach your eyes to see in a new color pallet. Or a nononsense black and white image will communicate the pure form and luxurious quality of the garment. The greatest images are purely emotional with the focus on how the image is to make you feel.

Pum Lefebure Co-Founder / Chief Creative Officer Design Army, Washington DC

The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

1 L[A] 4/2019, Hakuhodo, Tokyo

2 L[A] 2/2014, Christian Aslund

3 L[A] 3/2012, Fabrica, Treviso, Italy, 72andSunny, Amsterdam

4 L[A] 6/2016, Y&R, Dubai

5 L[A] 5/2014, Pepe Jeans London, in-house, Madrid

How to talk about beauty, knowing that the filters of various apps have caused effects such as toxic beauty, and a lot of anxiety in young people?

And on fashion, when the Patagonia brand established a new boundary between reality and perception. Between fast fashion vs global warming? And precisely because all this is happening now, fashion and beauty advertising needs to regain its space with concepts, not just form.

A bit like the pharma and health segment are doing.

But with content and great ideas. Not just stories. It’s not so much about what this segment is today, it’s how I see it in the coming years. An increasingly talented, inclusive, sexy segment, beautiful as life needs to be.

Flavio Waiteman

CCO/Founder, Tech and Soul, São Paulo

6

8

9

The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

1 L[A] 6/2014, DDB, Hong Kong

2 L[A] 2/2021, VMLY&R, Dubai

3 L[A] 3/2020, Ogilvy & Mather, London & Toronto

4 L[A] 1/2019, ACNE, Stockholm

5 L[A] 3/2015, BBH, London

L[A] 3/2017, Shiseido, in-house, Tokyo

7 L[A] 5/2013, Lowe, Singapore

L[A] 6/2012, JWT, São Paulo

L[A] 1/2021, Ogilvy UK, London

In terms of fashion and beauty, I’d say the most powerful communication comes when the brand has a unique or provocative point of view on culture. Fashion and beauty are categories consumers intrinsically take more personally. People have a deeper psychological connection to these categories as the products ultimately become expressions and extensions of whoever is wearing them. A clear, bold, revolutionary outlook or attitude is what separates the best fashion and beauty brands from the mediocre. Diesel, Dove, Fenty, Kenzo and Billie are great examples of big ideas with such flawless execution, they masquerade as artful brand stories. But make no mistake, strategically these ideas all make a clear statement about our society as a whole and how the brand challenges it.

Julie Rutigliano Creative Director Pereira O’Dell, New York

1 L[A] 6/2018, Shiseido in-house, Tokyo

2 L[A] 6/2014, Baz Luhrmann, Client: Chanel

3 L[A] 3/2019, & Co., Copenhagen, Client: Bianco Footwear

4 L[A] 3/2020, Publicis, Milan, Italy, Client: Diesel

5 L[A] 1/2014, Prada in-house, Milan, Italy

The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

DEAN ALEXANDER

photographer/director

What makes fashion and beauty advertising a special sector? Most advertising uses a concept to sell a product, but beauty and fashion advertising reverses the formula: it uses a product to sell a concept. The former is ‘what do I want to have,’ and the latter is, ‘who do I want to be.’

But at the end of the day, it’s two sides of the same cliché: consumer culture is consumer culture, whether it smells like Chanel No5 or streams in brilliant 4K.

Krista McCrimmon Creative Director Recreation, Dallas

1 L[A] 3/2021, Prada, in-house, Milan, Italy

2 L[A] 4/2012, Roman Polanski, Client: Prada

3 L[A] 3/2016, adam&eveDDB, London, Client: H&M

4 L[A] 4/2015, BBDO, New York

5 L[A] 3/2015, Georgie Greville, Client: Rag and Bone

6 L[A] 2/2021, FCB Inferno, London

7 L[A] 6/2012, H&M in-house, Stockholm

8 L[A] 1/2013, Marcel, Paris

9 L[A] 2/2013, TBWA, Copenhagen

The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

On average, we change our partner four times in our lives. However, we remain loyal to our fashion or beauty brands for decades … You don’t buy a piece of beauty or fashion, you buy a lifestyle. An attitude, an image to identify with. The creative idea is subsidiary, even the product. It’s all about creating the world your customers most crave to be part of. Even if they never will. Brand experience, identification, consistency. Telling the same story in variations, over and over again.

Remember: fashion is the only product that has the power to turn its customers into advertisements themselves. Make sure that the right people are drawn to your image. Choose your target audience carefully, otherwise, they will choose you.

Antonia Bekiaris Creative Director Text at BOLD, Bern, Switzerland

1 L[A] 4/2014, JWT, São Paulo

2 L[A] 2/2020, &Co./ NoA, Copenhagen

3 L[A] 2/2015, Dentsu, Tokyo

4 L[A] 4/2015, ProKraft Africa, Nairobi

5 L[A] 3/2020, Serviceplan China, Beijing

6 L[A] 4/2018, Huge, New York

7 L[A] 1/2018, Red Fuse Communications, Hong Kong

8 L[A] 3/2014, Y&R/RedFuse, New York

9 L[A] 2/2015, Boom Total, Belo Horizonte, Brazil

The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

Creative ideas in beauty and fashion advertising differ by emphasizing aesthetics, emotion, trends, story-telling, aspiration, and visual transformation. These ads focus on visually captivating imagery, evoking desire, and establishing personal identity. They tap into emotions and create a connection by portraying desired lifestyles and self-expression. Beauty and fashion advertising must stay current with trends to resonate with the target audience. The use of storytelling techniques and influencer collaborations helps create an aspirational and relatable narrative. Ultimately, these creative ideas aim to inspire and transform, showcasing the product’s potential and conveying a sense of possibility.

1 L[A] 5/2018, Raphael Cioffi, Client: Jean-Paul Gaultier

2 L[A] 2/2015, Robert Lussier, Mia Forsgren, Client: Dior

3 L[A] 3/2022, Gucci in-house, Milan

4 L[A] 1/2015, adam&eveDDB, London, Client: Mulberry

5 L[A] 3/2013, Art + Commerce, New York, Client: Prada

The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

Vicky Gitto CCO & Founder Gitto/Battaglia_22, Milan 1

I don’t think they’re different. Like every other category, some ideas are amazing, weird, wacky, or just so good that we all wish we’d done them. And some just aren’t.

Claire Stapleton

Creative Lead Copy

The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

1 L[A] 2/2016, Colle+McVoy, Minneapolis, Minnesota

2 L[A] TBWA RAAD, Dubai

3 L[A] 3/2013, Taku Satoh Design Office, Tokyo

4 L[A] 3/2020, En Garde, Graz, Austria

5 L[A] 5/2015, KesselsKramer, Amsterdam

The Works, Sydney

TOM BRANNIGAN

Advertising is about progress. Fashion is renovation. Brands want to establish themselves, start a journey, and every year build relevance for their consumer. Fashion brands, while maintaining the core brand values each season, must reinvent themselves. This difference impacts creative work and how to talk to consumers. Brands need big ideas, they want to inspire, and they need consistency. Fashion brands want people to feel something. It’s the craft, the music, and the visuals that sometimes need to deliver a simpler message. It’s heart versus gut. And in the best cases, they are not mutually exclusive.

Francesca Romana Ferracini Associate Creative Director Ogilvy, New York

1+2 L[A] 2/2016, AlmapBBDO, São Paulo

3 L[A] 6/2016, AlmapBBDO, São Paulo

4 L[A] 4/2019, AlmapBBDO, São Paulo

5 L[A] 2/2021, AlmapBBDO, São Paulo

The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

There is no difference in beauty or fashion advertising compared to other industries except that everything is different. No sector is as fast-moving as the fashion industry. Spring, summer, fall and winter cry out for new ideas, again and again. The second something is produced it might already be out of date. On to the next trend!

Michael Wilk Global Head of Art, Serviceplan, Hamburg

1 L[A] 1/2016, Anti-Agency, Saint Louis, Nebraska

2 L[A] 2/2020, Mother, London

3 L[A] 2/2022, Droga5, London

4 L[A] 4/2018, Milk, Vilnius

5 L[A] 4/2012, DDB, London

6 L[A] 2/2022, Dominick Alfonzetti

7 L[A] 4/2013, Y&R, Dubai

8 L[A] 6/2018, Droga5, London

The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

The fashion campaign is a strange beast. Done well and they’re exceptional, like Diesel’s Be Stupid or Burberry’s recent films. Done badly … they end up being akin to the brilliant parody Twitter, Perfume Ads For Sale [@perfumeads].

They’re a Wild West where strategy takes a back seat. And rightly so. The part of the brain lusting after Louboutins is very different to the part making a decision between two different, yet basically identical, yogurts in a supermarket.

So, we love and hate fashion advertising for its brilliant pompousness, it doesn’t play by the rules because it doesn’t have to. And it doesn’t even care; it’s having too much fun.

Henry Westcott

Freelance Senior Creative/ACD London

1 L[A] 1/2014, & Co., Copenhagen

2 L[A] 3/2021, Riff Raff, London, Client: Burberry

3 L[A] 1/2017, adam&eveDDB, London, H&M

4 L[A] 2/2013, Louis Vuitton in-house, Paris

5 L[A] 2/2010, Anomaly, London

6 L[A] 5/2015, Mother, New York

7 L[A] 3/2014, Cogent Elliott, London

8 L[A] 3/2015, Lowe SSP3, Bogota

9 L[A] 1/2017, Burberry, in-house, London

The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

Fashion is an industry driven by creativity, and so is [or should be] advertising. It’s very interesting to watch the love and hate parade between them. Advertising tends to use fashion in a very reduced way while it could really be a strong ally. Fashion brands carry strong messages and values in themselves, that a great advertising campaign will help reinforce and amplify. Both need to acknowledge the strength of each other, learn and build together. We need more fashion in advertising and more advertising in fashion. It’s such an exciting match when both creative directions meet!

Gilles Rivollier Founder & President L’ASSOCIÉ, Paris

5

The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

1 L[A] 6/2015, Müller Brothers, Melbourne

2 L[A] 6/2015, Cranford Co, Little Rock, Arkansas

3 L[A] 3/2017, Anomaly, Amsterdam

4 L[A] 3/2013, Plutón, Montevideo

L[A] 4/2019, Publicis, Milan , Italy

6 L[A] 6/2017, The Corner, London

7 L[A] 2/2022, BETC, Paris

Ideas beyond words

So there you have it, over our preceding pages a range of opinions on whether fashion and beauty advertising plays to different rules, alongside work that perhaps demonstrates just that. Or not.

We posed it because, at Lürzer’s Archive, over many years, we have always loved the best of fashion and beauty work and yet at times struggle to place it. Occasionally we have to face down critical remarks such as “that’s not really an idea” or “it’s just like every other fashion ad”, as old-school creative conservatives (if that’s not a full-on oxymoron) fail to see the finer points of how fashion and beauty concepts work. But we know the leading edge of fashion and beauty communications is often the bleeding edge of communications. It is a messy and provocative space, and truly exciting. It is often full of creativity that is beyond clear explanation … it’s that creative.

Our commentators over previous pages note that fashion and beauty is often different in its creativity and that is its strength. It plays in a more visual way, or a more avant-garde way, because that is at the core of what it is often selling. How you look is (almost) everything.

Some of the most pioneering creative communications in fashion and beauty point to the future as the very nature of their message.

Typically led by image but increasingly working through powerful integrated ways across media, and increasingly pioneering new digital tools and tech, we can see communications in these industries as creative forecasters. For example, they have often been agile in addressing and leading on social and environmental impact issues, and at the forefront of evolving “brand purpose”. But there is much more to do.

For example, fashion and beauty brands have to be at the front in tackling climate change and sustainability concerns. Surely the demise of fast fashion, as we know it, cannot be far off? There will be radical new stories to tell, which will call for new creative methods.

So the answer to our question – does fashion and beauty have different creative rules? – is this: the rules were not so different in the past but may be in the future. These are industries that can be, must be, more pioneering and more challenging, to keep relevant.

Yes, they are just selling clothes and makeup. And yet these industries are, at worst, only superficially superficial. Sometimes the fun of it all makes them seem that way. In fact, they are vital, fundamental expressions of ourselves. The resulting creativity has to walk a tightrope of being wonderfully engaging to shape our tastes but also highly effective to help shape a better world.

LÜRZER’S

ARCHIVE BEAUTY+FASHION

& Co., Copenhagen

Creative Direction

Thomas Hoffmann

Thomas Hoffmann, Martin Storgaard

Søren Solkær Starbird

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The contents of this magazine may not be reproduced in whole or in part without prior written permission from the publisher, Lürzer International Ltd. Lürzer’s Archive is a trademark of Lürzer International Ltd, London.

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We welcome published work, as individual or campaigns, in print, OOH, film, digital, experiential and all other marketing categories.

Please submit at luerzersarchive.com

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Backdrop [204–210]

Yoshitomo Nara

Albertina Modern

Vienna

Miss Margaret, 2016, Acrylic on canvas, Private Collection, United States of America

© Yoshitomo Nara

CLASSICS

Alan Page, our co-director as well as a great copywriter and creative director, sadly died in May 2023. We dedicate this archive classics to a small selection of his work.

Top: 6/1992

Client

Mulberry Agency

Harari Page, London

Art Direction

Noel Hassan, Mark Nightingale

Copywriter

Alan Page Photographer

Nadav Kander

Bottom: 1/1985

Client Marley Agency

Yellowhammer, London

Art Direction

Jeremy Pemberton

Copywriter

Alan Page

Illustrator

Peter Till

Right: 2/1984 Client Greenpeace Agency Yellowhammer, London Art Direction

Jeremy Pemberton Copywriter

Alan Page

Director David Bailey Production Paul Weiland Film Company Music Vangelis

Left: 1/1986 Client Central Office of Information Agency Yellowhammer, London Art Direction

Jeremy Pemberton Copywriter

Alan Page Photographer Clive Arrowsmith

REVIEWS

On the Thread: From Dakar to Paris

La Galerie du 19M

Paris Exhibition until 30 July

This exhibition by Chanel, at its atelier in the northern Paris suburb of Aubervilliers, is a project that could/should be a model for many other brands and industries. It draws on Chanel’s annual celebration of its own in-house ateliers and craftsmanship, which took place last in Dakar in December. The event was accompanied by a related exhibition from local artists, who had been invited to demonstrate their response and expertise. Now these Senegalese works have their own show in Paris. The bold pieces by individuals individuals and collaborations can be seen in a context which invites us to consider how their creativity may filter longer-term into the host brand’s culture and output. Painters, embroiderers, photographers and designers of various kinds are involved. The work can be enjoyed for itself but it is the contrast with the highly-produced Chanel brand and its global position that makes for interesting points of speculation. As the exhibition name suggests, there are strings that connect us all, however fine and fragile. With creative work, those connections can quickly move from the margins to the center if the ideas are good enough and the opportunities are given. Commendations to Chanel for this project, which we hope will grow.

Above: Julian Farade, photo by Barada Preira Right: Cécile Ndiaye, photo by Khalifa Hussein

Yoshitomo Nara

All My Little Words

Albertina Modern Vienna Exhibition until 1 November

To be called “one of the best-known artists of his generation worldwide”, puts a target on Nara’s back that is undeserved. Such weighty expectations can only make his reputation stumble. His work, and his quiet application to just getting on with it, is in no way brashly populist, even though it may be highly accessible. Known for a decades-long focus on producing images of “angry girls”, the paintings, drawings, and sculptures, might even seem a bit weird and obsessive. And yet they can also be seen as innocent and avoid the creepy cute. In graphic style, there’s a sense of crossover with comic books and also children’s book illustrations. There’s a quality and charm to the craft of their making – ranging widely from the almost throwaway sketch to the highly produced – that perhaps doesn’t come over well in reproduction as they are essentially delicate and sensitive. Nara is strongly associated with the Japanese Superflat movement but his work is not so much about a style, or manifesto, as about a state of mind that he seems to explore. That’s perhaps why the work is so popular. He makes an emotional connection, exploring childhood, girlhood, and a kind of punk sensibility. He apparently finds Western music and English-language songs hugely influential on his work process even though he doesn’t understand the words. In a similar way, much of his fanbase doesn’t understand the Japanese culture he comes from but is delighted to meet him in the spaces where he dreams.

Above: Midnight Pilgrim, 2012/2021 Bronze with black patina, ProWinko ProArt, Courtesy Pace Gallery, Photo by Keizo Kioku.

Left: Work for Dream to Dream, 2001, Acrylic and colored pencil on paper, Collection of the artist, Courtesy Pace Gallery.

Copyright by Yoshitomo Nara.

Trace Formations of Likeness

Haus der Kunst München Exhibition until 23 July

A visit to this exhibition of more than a thousand images might well have made a nice accompaniment to reading our fashion and beauty special in this issue. At the core, the exhibition is all about the portrait, using a vast survey of photography over centuries and drawing on the terrific archives of The Walther Collection. It explores the ways in which photography empowers or disempowers, represents or re-presents, celebrates or critiques … and so on. It’s here to reflect on and be moved by and changed by. It shows the work of famous living artists – such as Ai Weiwei, Thomas Struth, Pieter Hugo and Ed Ruscha – alongside departed greats – Richard Avedon, August Sander, Bernd & Hilla Becher and others. Most powerfully and meaningfully, it puts the famous and most accepted alongside the anonymous artists or the very much little-known, often from marginalized cultures and places. It generally leaves us to consider the differences and the messages but also presents some conclusions and provocations. It’s a starting point for more exhibitions and publications that might want to review where we have got to with our visual culture … and how we might need or want to change.

Above: Installation photography by Maximilian Geuter.

Left: Muholi Zanele: Miss D-vine, Courtesy Yancey Richardson, New York and The Walther Collection, Neu-Ulm, New York. Both from the exhibits at Trace –Formations of Likeness.

Manly Palmer Hall Secret Teachings of all Ages

Published by Taschen

356 pages + extras, € 500

If you have any thoughts on creating new worlds – perhaps you work in games development, are tackling a brief for an in-store experiential fantasy, or you think you are Elon Musk or otherwise have big corners of your big mind to fill – then this is the book for you. It turns out that the great thoughts of the ancient, philosophical pondering and occult knowledge passed down through religions of varying substance, nailed much of our pop culture styling a whole lot earlier than pop itself. Crazy clothing, scary creatures, weird gestures, mysterious marks, apocalyptic weather … it’s all been done before. If you can think it, it turns out somebody out there will believe it. Now you can “borrow” the inspiration, remix, and excite new audiences. Manly Palmer Hall (1901-1990) did that hard graft for us back in the 1920s, with his wide travels and earnest, extensive research. However, it was his decision to hire the artists J. Augustus Knapp and Mihran Serailian to support his work that made the book into something to truly treasure. You don’t have to pay €500 for a copy of this classic cult text. Indeed, a search on Amazon and you can find various reprints for as little as 50 cents (plus shipping). What makes the new limited edition worth the added €499.50 or thereabouts, is that it looks amazing and is an exquisite print collectible. Taschen adds to their version of the original an entire companion volume, with additional artwork from the archives, plus a portfolio of prints. Not cheap but surely tax-deductible?

Above: Grand Rosicrucian Alchemical Formula, illustration by J. Augustus Knapp.

Right: Taschen’s limited-edition book comes in a spirituallyuplifting slipcase.

Copyright by Taschen.

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