Every year, Capital Radio’s ’Hall of Fame’ starts well enough.
Sure, there’s the inevitable puzzling as to why Bowie and the Beatles
should be quite so low down, just who does vote for ELO and whatever
happened to Minnie Ripperton? But the real screaming at the radio begins
with the top 20.
It’s not the interminable boredom of Stairway to Heaven that does it,
nor even the conspiracy against the Rolling Stones. No, it’s when the
likes of Careless Whisper and Bohemian Rhapsody are topped by Robbie
Williams’ Angels or, worse, the dreaded Bryan Adams.
Who will it be this year? Shania Twain? Steps? Geri Halliwell? The mind
boggles. Who will remember Westlife in two years’ time, let alone
Do you remember Bros or Sigue Sigue Sputnik? Yet the good stuff does
come down to us, it does survive the passing of time, receding
hairlines, incipient pot-bellies and the potential death of the
Campaign’s Hall of Fame, published in association with the Institute of
Practitioners in Advertising, is no different. Ads, like singles, play a
major role in the collective consciousness of our formative years. True,
sometimes we remember things through rose-tinted spectacles: were the
Monkees really any good? Did Shake ’n’ Vac really put the freshness
But, somehow, the best survives. It’s why we remember Mozart not
Nevertheless, readers will note that there are many more ads from the
second half of the century than the first in our Hall of Fame. Partly
this is due to our familiarity with and confidence in the more recent
past, and partly because there is now so much more advertising to choose
from. It also indicates that the advertising industry has come of
Britain’s advertising century began with precious few advertising
pioneers of the likes of the rival soap manufacturers, Lord Leverhulme
of Sunlight and TJ Barrett of Pears. These iconoclasts commissioned some
of the best artists of the day to illustrate their beautiful posters
(most famously Millais’ bubbles for Pears). They took advantage of the
recent invention of the chromo-lithographic printing process and the
steam train to cover the country with their advertising.
But they were the exception to a very drab rule. Most
turn-of-the-century posters were unimaginative. Many featured only the
product’s name in a huge typeface, and perhaps a packshot. The endline was
still in its infancy, and there were few attempts to introduce a brand
That Bovril’s ’alas my poor brother’ and the GNR’s and LNER’s ’Skegness
is so bracing’ still resonate with us today is a tribute to their wit
and originality. And with other artists such as Tom Eckersley, Austin
Cooper, Fougasse, John Hassall, Edward McKnight Kauffer, Alfred Leete,
Tom Purvis, Man Ray, Graham Sutherland, Fred Taylor and Rex Whistle
creating posters, it is self-evident why advertising came to be regarded
as an art form.
The First World War brought a quantum leap in style. The direct appeal
to the emotions, cajoling the public into enlisting and supporting the
war, was used to such good effect that Hitler even paid tribute to
Britain’s propaganda skills in Mein Kampf.
It is the image of a dignified Lord Kitchener calling patriotic men to
arms that has come down to us most vividly from this era. The radical
decision to use Kitchener and not the King was hugely effective in
persuading thousands of Britons to sign up, and the idea was widely
copied - most notably by the US Forces’ ’Uncle Sam’ work.
The ’Daddy, what did you do in the Great War?’ series created the first
great debate about the morality of advertising - once the war was won,
of course. It was arguably the first campaign to use emotional blackmail
and the public felt uncomfortable about being ’used’. The Government
reverted to being a very conservative advertiser in the inter-war
Inevitably advertising of the Second World War is prominent in the Hall
of Fame. ’Inevitably’ because the 1939-1945 period defined Britain and
the British psyche like no other.
A team of some 60 artists and designers working within the newly formed
Ministry of Information began cautiously during what became known as
’the phoney war’. There was no attempt to mythologise Churchill through
It was to be ’the people’s war’, an idea evident in the slogans we all
know today: ’dig for victory’, ’grow your own food’, ’careless talk
But while the slogans and the variety of graphic design styles made the
Second World War period a purple one for posters, it also heralded the
rise of the broadcast medium. Radio came to the fore, as families
huddled around the wireless listening to the great wartime speeches,
anxious for news from the battle front.
Creative standards in the poster medium went into a three-decade slump
after the war (partly caused by continuing paper rationing). Its decline
was sealed by the advent of commercial television in the UK in 1956.
Commercial television’s arrival was anticipated with great
The BBC, the House of Lords and the Church all predicted that the
commercial medium invading from the United States would be a corrupting
force that shouldn’t be welcomed in our homes. In fact what we got was
Gibbs SR, as cool as the mountain stream which poured over the
toothpaste tube endlessly in the first commercial aired on British TV.
Its repetitive style was typical of much of the first television
Received pronunciation, the dreadful jingle and men in white coats with
their product demonstrations were three of the major early trends. At
first it appeared that television commercials would do nothing worse
than bore the public into switching off their sets.
Then, in the early 60s, a new style of advertising began to flourish in
the US, epitomised by the titans that could be described as the two most
influential admen of modern times, Bill Bernbach and David Ogilvy.
Both were obsessed with simplicity, but had very different ideas about
tone. Bernbach, who raised the standing of creative people in agencies,
preferred ironic humour. Ogilvy detested what he described as ’frippery’
or ’artistic’ ads. Having worked for George Gallup, he was an early
pioneer of the use of market research techniques.
Both made their name with press ads: ’think small’, ’lemon’ and others
for Volkswagen in Bernbach’s case, and Ogilvy with ’the man in the
Hathaway Shirt’, ’at 60 miles an hour ...’ for Rolls Royce and others.
These (like the VW Beetle ’snowplough’ commercial) are American ads and
not eligible for the Campaign Hall of Fame Top 100.
It is worth commenting on the relative lack of press ads in the
By definition, press has always been a targeted medium, and individual
ads have less impact than the more ubiquitous posters or television
What’s more, it is in the press medium where the changes in taste of the
past two decades, let alone the century, are most visible.
The long-copy ads so loved by the creative directors of the Ogilvy and
early Collett Dickenson Pearce schools and their innumerable acolytes
just don’t have the same impact today. Well, perhaps they might - if
anyone could still be bothered to read them.
Today, many posters could be press ads and vice versa. It’s not
necessarily a bad thing, merely a reflection of the pressures on the
public’s media consumption habits.
We live in the visual age, post-MTV and the rise of the remote
If an ad does not grab your attention instantly, then you move on, its
potential impact remains just that. The same can be said for some of the
’great’ television ads of the 60s and 70s. They seem interminably long
to the end-of-century viewer.
Nevertheless, almost half of Campaign’s Top 20 ads were created in the
70s, which (through to the early 80s) is the period that has come to be
regarded as the golden age of the British commercial. The work of a new
type of creative person in agencies was starting to come through and a
combination of big budgets with guaranteed mass audiences as a result of
the ITV monopoly meant that everyone saw the commercials.
It was the time of Hamlet, Hovis, Heineken, Benson & Hedges, Fiat,
Parker Pens, Cockburns, Birds Eye and so many other magical creations of
that fertile breeding ground that was Collett Dickenson Pearce.
And it was also the era of the great BMP advertising icons: the Smash
Martians, the Cresta bear, the PG Tips chimps. BMP also gave us John
Smith’s, Courage Best and The Guardian ’points of view’ in our top 20,
and it is difficult to think of a better Hall of Fame jury chairman than
the creative director of the agency for most of the past 30 years, John
Webster, indisputably the best British exponent of the television
Choosing the Top 10 was not as hard as one might imagine. The most
difficult debate was over whether anything more recent than Tango
warranted inclusion (in the end it was decided that although Tango’s
influence is self-evident, there has been nothing quite as significant
since), and how we could leave out the PG Tips chimps (in at 11)?
Putting the ads in any order of merit, of course, proved ridiculously
While Lord Kitchener (at 9) has proved to be one of the advertising
icons of the century, and Hamlet (10) and Heineken (8) are ’merely’ the
best and best-loved of the many great comic ads, our final top seven ads
were all iconoclastic, hugely influential and have become part of
advertising history. The ’pregnant man’ for the HEC (at 7) can in many
ways be regarded as the precursor of the ’press ad as poster’ style of
advertising: its simple, arresting image achieved the desired
cut-through and was a foretaste of much of the best of Saatchi & Saatchi
Levi’s (6) married the music soundtrack to the MTV image; the pop video
as commercial, an idea that was to be imitated to less good effect
endlessly as the need for pan-European television campaigns became
greater. It’s impossible to overstate the impact Levi’s had on the
advertising, fashion and music industries. It resurrected the brand and
many an old muso’s back catalogue. It was so consistently good and
innovative that ’creek’ appears in the Hall of Fame in its own right as
an example of a later style.
Fiat Strada ’robots’ (5) is often cited as the best UK ad of all time,
and certainly its craft skills and ambition were mind-boggling in
CDP took a relatively boring idea, ’hand-built by robots’, and created
an epic through the inspired use of Hugh Hudson’s direction and
Rossini’s soundtrack. Shame about the car.
The ’cheap’ visual style and the jerky narrative of the first Tango ad
(4) spawned endless imitators that could never quite replicate the
sublime confluence of Ray Wilkins’ deadpan voiceover, the mischievous
Orange genie, and the ’you know when you’ve been Tango’d’ endline.
There is little that need be said about the Conservative Party’s ’Labour
isn’t working’ ad, number 3 in our Hall of Fame. Also voted ’the poster
of the century’ by Campaign’s 100 Best Posters of the Century jury, it
is the single advertisement that had more influence on the nation than
any other, and the execution that finally convinced politicians of the
power of advertising.
The Benson & Hedges ’iguana’ cinema commercial (at 2) is a great example
of the advertising industry turning to creativity in the face of
The first significant commercial to do away with narrative, its surreal,
enigmatic style was a direct consequence of greater tobacco advertising
restrictions. It was the commercial that made many viewers want to get
into the business.
Which brings us to our unanimous number one choice: the Smash
We can all say ’for mash get Smash’ more than 30 years after the
campaign broke, and we all still love the icons. The commercial had an
impact way beyond its budget, and helped to popularise both advertising
and the concept of ready-made foods. It inspired an entire industry: if
you could do work like this for packet dried potato, you could do great
work for anything.
Although the product is now in decline, the popularity of the icon is
not. So much so that the Martians are being brought back to our screens
for the third time! Simply put, this was British advertising at its very
best: using the likeability of and the emotional involvement inherent in
the advertising to sell an otherwise unappealing product and build a
famous brand. It doesn’t get better than this: like the rest of the Top
Ten, a perfect marriage of creativity and effectiveness.