•Best of Y&R Global Showcase
The very worst disasters don’t just hit some people, they affect everyone in some way.
This campaign tackled the ‘I’ll be fine’ perception that New Zealanders largely had when thinking about natural disasters (at least in the pre-Christchurch earthquake arena.)
A campaign that aimed at changing people’s perceptions as well as a donation driver, the ‘When Disaster Hits’ campaign was launched on the appeal week and generated a 32% increase in donations over the previous year ($1.28 million as opposed to $950,000 the year before).
Major news outlets covered the campaign including a prime time TV feature on NZ disasters affecting people. Fake lost posters of people were also erected on boards to create added tension to the question of ‘how prepared are you in a disaster?’
The Independent is a financial weekly which needed to be noticed. Working with illustrator Chris Knox, weekly topical features were crafted over the weekend and then ran on Monday for the week's edition.
The ‘Kit the Crew’ campaign was aimed at driving donations for the Royal National Lifeboat Institution (RNLI). The RNLI encompasses lifeboat crews and lifeguards in the United Kingdom and chiefly relies on donations for operations.
The thinking behind ‘Kit the Crew’ was to directly buy equipment for these coastguards so they can do their job.
As the iconic yellow boots were the most identifiable kit item, true stories from coastguards were drawn onto the boots that belonged to them. A range of type artists were used.
This was part of an outdoor, press and direct campaign. The boots were then auctioned off at a charity fundraiser.
Results: The ‘Kit The Crew’ campaign aimed at increasing donation memberships in the July-October period by 12%.
As a result of the campaign memberships were up 23% (an increase of around £280,000 over the previous year) with a campaign continuation greenlit for summer 2015.
• Lürzer's Archive
More people die on the roads in Lebanon (based on a per population ratio) than in any other country in the Middle East.
As evidenced by this worrisome fact, Bridgestone wanted to make a difference, and call out road safety. In particular they wanted to call out bald tires.
By being responsible, they could educate the public, and as side incentive- sell more tires.
From this, an emotionally powerful heartbeat tire tread visual was created.
The impact of the visual meant that although it was only shown in print and on billboards, it soon found a life online… being re-tweeted by celebrities including Sir Alan Sugar.
Some consumers still primarily view The Wall Journal as a print publication.
This spot showed the wide array of devices, applications, and broad approach to information intake that the Wall Street Journal can offer any subscriber.
Showcased not for its creative muscle, but rather an example of hard working retail-led comms that can still have wit and charm injected into it.
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• The Work
When everyone's creating craft beer there's not much of a differentiator left. If your brand revolves around craft, the question is, how much craft? - and when you enter into that conversation, inevitably you're asked how many craft beer awards has it won?
Lighthouse have won zero.
Thankfully, Lighthouse beer had a difference.
In fact they had two. One, was their point-blank weird ass name. And two, they used recipes based on the good old days.
From this, we reproduced turn-of-the-century painted photographs, and let each surreal visual play off the name of each beer.
A stout lighthouse, is now a short lighthouse. Etc.
UPS needed an integrated platform that allowed potential exporters to access fairly dry export information in an interesting way.
Because a music band on the road is constantly ‘exporting’ their equipment ‘The Forgotten Corners Tour’ was born.
Philips needed an engaging way to create a buzz (possibly the worst pun on the site) around their CRM campaign.
This campaign was built off the idea that every shaver’s sound is unique and could therefore be used to register the shaver.
Themed paint ranges are usually passive in nature. They trade off moods and seasons and never really delve deeper than just the color.
What if an immersive story coupled with a CSR campaign was created for a paint range?
Whittaker’s Squares are an addictive complement to your coffee. By personifying this interpersonal relationship, a love affair was born between coffee and chocolate.
Virgin Media’s SIM is the perfect partner for anyone’s phone.
Competitors’ ads in this category are unashamedly retail heavy so it was nice to create a campaign which still led with the offer but added quirk and interest to it.
The Honda Accord Euro coupled great driving with great looks. To illustrate this duality a series of ‘light paintings’ were commissioned. All the art seen in the final print ads were created in camera by the artist.