Thanks to coronavirus, a new creative category is on the rise – hand sanitiser advertising. As more and more of us stash bottles in our bags, brands are going to be under increasing pressure to get noticed in a crowded category. So it makes sense that both Dettol and Lifebuoy have invested in major ad campaigns, but it’s interesting to note the different directions each has taken.
Lifebuoy’s Bish, Bash, Bosh campaign , which comprises a flm and outdoor ads with illustrations by Dan Woodger.
It’s fun, and God knows we all need some of that after months of frightening news and warning notices about social distancing. Making hand sanitiser playful and engaging must have been a tough brief, but Mullenlowe and Woodger have pulled it off in impressive fashion.
The illustrations are punchy, and work as well as static outdoor ads as they do in a gross-out animation that reminds us why we all need sanitiser in the first place.
For 2020, Spotify’s flagship annual Wrapped campaign aims to honour this struggle, and “recognise and celebrate the human stories of the year”. From artists to podcasters, families to frontline workers, plus the playlist creators who’ve beavered away, this year Wrapped is all about gratitude and resilience, with a little bit of its trademark humour thrown in too.
As well as the personal rundowns of most-listened tracks and stats that individual users can tap into, Spotify is splashing the campaign across social and outdoor advertising to find “beauty in the chaos” and say thank you to those who made it happen. The campaign’s visuals include a salute to Cardi B’s “invaluable wisdom and philosophies” for her track WAP with Megan Thee Stallion, as well as billboard placements in artists’ hometowns, like Glasgow where Lewis Capaldi’s Someone You Loved was streamed over 706,000 times.
Moving house is hard work, with one of the main goals being the moment when you’ve finally got inside your new property and can enjoy a takeaway meal to celebrate. This will be a familiar feeling the world over, but is particularly pertinent in Quebec, Canada, where traditionally most residential leases come to an end on the same day, July 1.
This means an average of over 100K households in the province pack their belongings and move into their new homes on what Quebecers refer to as ‘Moving Day’. Tapping into this event was a recent campaign from McDonald’s Canada, created by Cossette ad agency, which repurposes the contents of moving vans to look like McDonald’s meals, which can be ordered via McDelivery.
The posters also aim to tell different Moving Day stories, which helped define the objects that were featured: The fries execution was inspired by a young man moving into his first apartment in a trendy Montreal neighborhood; the Big Mac execution featured a family with kids moving into a suburban home; and the Egg McMuffin spot highlighted a young couple moving into their first home.
Having staff poached is typically a brand’s worst nightmare, yet toiletries brand Beco welcomed it with open arms in its provocative #StealOurStaff campaign.
The campaign was created by TBWA\London, which had already been working with Beco on getting its products stocked in leading retailers such as Boots, Waitrose and Sainsbury’s. The brand includes organic, paraben-free and plastic-free toiletries in its range, but it is the people that make Beco what it is. With 80% of its workforce disabled, disadvantaged or visually impaired, the social enterprise is gunning for change when it comes to the disability employment gap sustained by the biased hiring practices of many businesses. It’s a widespread issue that seems missing from wider discourse, which is what #StealOurStaff set out to change.
At the heart of the project’s concept was its packaging design, which features CVs of Beco employees. “It’s like an upside-down recruitment campaign,” TBWA\London chief creative officer Andy Jex says. The packaging takeover was joined by tweets sent to business leaders, a website-turned-recruitment portal that also contained advice for employers interested in hiring people with disabilities, and an accompanying spot on Channel 4. Made in collaboration with production company Hoi Polloi, the film stars real Beco employees contradicting the less-than-adequate audio description (AD) voiceover.
The film concept emerged from encounters with Beco staff working at the factory – particularly one team member who ridiculed Netflix’s questionable AD. It soon evolved into a tongue-in-cheek testament to the fact that people with disabilities are not short on humour. The aim was to be more lighthearted and less worthy, with the approach highlighting just how misleading media representations of disabled people can be – “particularly in advertising”, Jex notes.
So Bosworth decided to consult the experts and invent a better approach—and in 2016 she launched Love Wellness, a line of curated body-positive health products for women.
The brand has had a couple different identities over the years, but hit its stride with its latest look, created by Lobster Phone and released this spring.
The San Francisco–based design firm delivered a new identity, website, packaging and creative strategy.
As Lobster Phone writes, “Inspiration for the logo was found in a late 1930s Art Deco type specimen; it felt playful, chunky and expressive. We used this as the basis for creating custom letterforms that are both clear and iconic. As illustrations are foundational to the larger brand, we made the ‘V’ of the logo into a face with lips that kiss and talk. Each product has its own quirky name, corresponding illustration and color combination that provide a not-so off-the-shelf look. The illustrations play off the style of the logo’s lips—an almost Japanese pop aesthetic—clearly demonstrating the benefits of the product in a dynamic way.”
Created by Paula Scher and her team, the identity focuses on a ‘square peg in a round hole’ icon that signifies there is no normal when it comes to mental health.
“Cole’s hope was that everyone sometimes has emotional issues and that everyone needs to be able to feel like it’s OK to feel that way and to talk about it and get help if they need it,” Scher explains. “I equated that feeling of not being emotionally stable to feeling like a square peg in a round hole. I wanted to create a symbol and system that could be universally recognised and take away the sanitarium aspect of mental health.”
The icon illustrates that there is no ‘normal’ when it comes to mental health and that everyone fits despite how it might feel. Set in the typeface Druk by Commercial Type, the chunky black letterforms are set against a rainbow of colours, which has been applied to business cards, stationery, the website and a set of posters which feature powerful phrases.
The Druk typeface is used again here to signal its connection to the Coalition. Likewise a bright but slightly more varied colour palette has been applied to represent the broad spectrum of mental health conditions, while also capturing a sense of optimism and hope.
For Scher, she felt it was her and her team’s responsibility to create an engaging but safe space. “I think the graphics have to be powerful and accessible, not timid or sedate, and allow people to feel like it’s OK to come into the site and participate,” she says.