Things I like: the Week magazine, Wallpaper’s Stockholm supplement, Digit’s amazing new interactive ’balls’ CD, Springer & Jacoby’s latest Lufthansa ’New York’ ad, Aesop’s Revive aromatic balm, Crowbar’s coffee and typography, Gran Turismo’s save-and-load graphics on Playstation, Sarah Butterfield’s paintings, Wild at Heart’s new Ledbury Road shop.

Things I like: the Week magazine, Wallpaper’s Stockholm supplement,

Digit’s amazing new interactive ’balls’ CD, Springer & Jacoby’s latest

Lufthansa ’New York’ ad, Aesop’s Revive aromatic balm, Crowbar’s coffee

and typography, Gran Turismo’s save-and-load graphics on Playstation,

Sarah Butterfield’s paintings, Wild at Heart’s new Ledbury Road


Things I’d like to like: this week’s selection of work for Private


Increasingly ads fail to inspire me. This week’s bunch is no


Advertising at its best is brilliantly sharp, incisive, witty, powerful,

irreverent and looks easy. Advertising like this is sadly all too


Brands as important as the following deserve the best.

Starting with the best first. Robinsons squash - they of the ’it’s a new

year, let’s have a new campaign’ school of advertising - are on to

something here. A beautiful piano track plays against a series of

surreal images representing children’s naive thoughts. So peace on earth

becomes peas on earth. And why Robinsons?

Well, because it feeds your child’s imagination. Better still, Bob

Holness seems a very distant memory.

The creative team who thought up the new Bud Light poster campaign could

have done with being fed some imagination themselves. Are these posters

really the best you can come up with for such a legendary product? Mr

Beattie’s not to everyone’s taste but one thing he understands

brilliantly and is evangelical about is the discipline of making great

posters - and he’s made a few. The team behind this work should call

0171-437 0434 and ask for the transcript of a presentation TB gave last


There’s a scary video doing the rounds and I have a copy (and I’m not

talking about Pammie and Tommy’s aquatic shagathon, of which I’m also a

proud owner). This particular scary video is DDB’s showreel circa 1969.

Scary because it’s brilliant. Scary because in many ways it hasn’t been

improved upon in 29 years. In this pre-Harry and Henry world, things

were simple because they had to be.

Which brings me to Nissan’s TV campaign for the 321 offer. The offer is

a belter. Three years’ warranty. Two years’ servicing. One year’s

insurance on most new Nissan models. The idea’s a good one. The ads are

clearly and simply written. But, sadly, unsimply and unnecessarily


As the launch of the new Beetle has shown, you can’t beat a great story,

simply told.

Remember those great Le Coq Sportif Adshels ten years ago with the

stunning blue duotones of men’s torsos? Well, if Loaded had been born a

decade ago, the result might have been the latest poster for Sure


’As worn by men with big ticks’ is a puerile line all right but,

executed in a suitably laddish way, it would not only be excusable but

right up there with some of the Big Breakfast’s Pun Down winners. As it

is, set against art direction by Laboratoire Lintas, it creates an

unhappy dissonance.

Next up, Tony Adams (I don’t like) does his best for McVitie’s Jaffa

Cakes (I love with all my heart). This campaign is a poor imitation of

the ground so well covered by the excellent Pot Noodle campaign. Like

the bit at the end of an evening of stand-up when the audience has a go,

you realise how good the professionals really are. So it is with Adams’

flirtation with the limelight.

Scooters are cool again and everyone wants one now that the weather’s

fine. Which, if you’re a lifelong biker like me, pisses you off a little

when you can’t park a bike in Soho any longer.

Lucozade’s latest TV commercial is an immaculate homage to Franc

Roddam’s excellent Quadrophenia and is a coded message to all that

Linford’s out and Lambrettas are in.

This really is a charming film, lovingly constructed, but one member of

the cast is left feeling slightly self-conscious - the part played by

the bottle. Sight of the product earlier in the film and a less shiny

hero-like bottle would have helped.

Au revoir. See you in Cannes.


Project: Bud Light

Client: Lucy Gray, marketing manager, new brands

Brief: Bud Light is a real beer that’s good for your body

Agency: BMP DDB

Writer: Dean Webb

Art director: Alex Bamford

Photographer: Zanna

Typographer: Stuart Watts

Exposure: 96-, 48- and

six-sheet posters

Elida Faberge

Project: Sure for Men

Client: Fernando Acosta, marketing manager

Brief: Reinforce Sure for Men’s positioning of top efficacy while

bringing the brand up to date

Agency: Ammirati Puris Lintas Writer: Laurence Blume

Art director: Fraser Adamson

Photographer: Wolfgang Mustain Typographer: Simon Fairweather

Exposure: Men’s press and consumer magazines

McVitie’s UK

Project: Jaffa Cakes

Client: Gill McComas, joint marketing director

Brief: Launch the second phase of the ’orangeytangs’ promotion

coinciding with the World Cup

Agency: Publicis

Writer: Noel Sharman

Art director: Dominic Beardsworth

Directors: Terence and Marek

Production company: The Mob

Exposure: National terrestrial

and satellite TV.

Nissan Motor (GB)

Project: 321 Commitment

Client: Brian Carolin,

managing director

Brief: Demonstrate Nissan’s commitment to quality and

worry-free motoring

Agency: TBWA GGT

Simons Palmer

Writer: Dave Woods

Art director: Pete Harle

Director: Harald Zwart Production company: Pink

Exposure: National terrestrial

and satellite TV


Project: Robinsons Fruit & Barley

Client: Jennie Ayers, director of still drinks

Brief: Robinsons feeds

the imagination

Agency: HHCL & Partners Writer: Jo Tanner

Art director: John Messum

Director: Paul Arden

Production company: Arden Sutherland-Dodd

Exposure: National TV

SmithKline Beecham

Project: Lucozade Energy

Client: Liz Hanson,

category manager

Brief: Strengthen the main

brand’s position as a soft

drink for every day Agency: Ogilvy & Mather

Writer: Justin Hooper

Art director: Christian Cotterill

Director: Vaughan Arnell Production company: Godman

Exposure: National TV


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