It’s surprising what we might have missed during the pandemic. There’s the obvious stuff – hugs with friends and family, the chance to talk over travails and triumphs face to face – and then there’s the small moments that might have even been a bit annoying, but now they’re prevented, you want them back.
The spot is the latest in what appears to be a burgeoning trend in advertising of taking a musical theatre approach. Directed by Max Sherman, it certainly makes the most of the ridiculousness of turning an ad for fries into a power ballad.
Credits: Agency: Cossette Director: Max Sherman Production Company: OPC
#WeThe15 takes its name from the 15% of the global population who have a disability and aims to raise awareness of the challenges that these 1.2 billion people often face, including access to healthcare, education and employment.
The film, created by Pulse Films and director Sam Pilling, sets out to challenge some of the stereotypes that people with disabilities face, including pity or being framed as ‘brave’. It was filmed in Bogota, Bangkok, London, Johannesburg, Milan and Manila, and includes nearly 40 persons with disabilities assembled in partnership with disabled talent agency and consultancy C Talent.
Pentagram’s identity includes a wordmark and a symbol by Pearce and his team and sonic branding by Suzuki. Throughout the Paralympic Games, athletes will wear temporary tattoos featuring the #WeThe15 symbol. A vibrant shade of purple was chosen for the identity as this represents the international colour of disability and to mark today’s launch, 125 iconic global landmarks across six continents – from Tokyo’s Skytree to Niagara Falls – will be illuminated in purple light.
Shelter’s new brand identity is created by Superunion and features a red arrow formed by brushstrokes. The intention is to bring a sense of the activism that was at the heart of the charity when it was formed in the 1960s back to the logo, while still referencing the shape of a roof which was a central part of Shelter’s previous mark.
The new ad campaign is created by ad agency Who Wot Why and features imagery of real people affected by the housing emergency projected onto buildings and homes. It is set to a track by Wretch 32.
The film is accompanied by a striking set of outdoor, print and online ads, featuring bold text and striking black-and-white portraits shot by photographer Tom Cockram.
The campaign, and new identity, aim to return some urgency and fight to the charity’s messaging, emphasised by the tagline, Fight for Home. “The housing emergency has escalated to staggering levels, impacting the lives of one in three of us,” says Willow Williams, head of marketing at Shelter. “Meanwhile, the global health crisis has made things a whole lot worse. This situation demanded an urgent and unflinching campaign to inspire everyone to join Shelter in the fight for home.”
Credits: Brand purpose and Identity: Superunion and The Sustainability Practice at Ogilvy Ad agency: Who Wot Why ECD/Founder: Sean Thompson Creatives: Jack Walker, Ali Dickinson, Rebecca Conyngham-Hynes, Dan Scott Photographer: Tom Cockram Production Company: Independent Films Directors: Sarah Gavron, Anu Henriques
The new ad, directed by George Hackforth-Jones for the charity Duty To Care, which provides mental health and wellbeing support to NHS workers, intends to remind people that ‘even superheroes need saving’.
We may have clapped for the carers and dubbed them superheroes, but, as this ad highlights, after over a year dealing directly with the ill and dying in the pandemic, they may be in dire need of more support themselves.
The charity Duty To Care was set up last March by a doctor’s wife and aims to provide immediate, free support to NHS workers struggling due to high pressure at work via online sessions with psychotherapists, CBT therapists, yoga, mindfulness, meditation, nutrition experts and personal trainers.
To help raise awareness of the charity for those seeking support, as well as encourage donations, George Hackforth-Jones (who is a creative at ad agency AMV BBDO as well as a director) has created this film, which he hopes will highlight what NHS staff have experienced in the pandemic.
Credits: Writer/Director: George Hackforth-Jones DOP: Chris Clarke Editor: Quin Williams Music by Deborah Williams
The posters are the latest in a long running series of ads from McDonald’s that have taken a simple, minimalist approach, making clever visual use of its iconic branding or its products to send a message to its audience.
In this set of images, one half of the golden arches logo is shown beaming into homes, with the simple statement ‘We Deliver’ below. The houses featured include a range of architectural styles from modern tower blocks to a Victorian terraced house.
The new campaign appears the week that a rebrand of McDonald’s’ packaging was released, which also uses a simple, illustrative approach. Both the rebrand and these minimalist ads reveal a confidence in just how well known its branding is to both its regular customers and the wider world, and that McDonald’s is not afraid to use these assets in a powerful and striking way.
Credits: Agency: Leo Burnett London CCO: Chaka Sobhani ECD: Mark Elwood Creative directors: Andrew Long, James Millers Creatives: Andrew Long, James Millers, Will Rees Designer: Sam Kallen
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.