Few things can compare to the satisfaction of watching an ad that uses elements that have been around for years, combining them in a totally new and refreshing way.

Few things can compare to the satisfaction of watching an ad that

uses elements that have been around for years, combining them in a

totally new and refreshing way.

The campaign for the new BMW Series 3, created by S,C,P,F, Barcelona,

dispenses with conventional car scenes. There are no beautiful driving

shots, no details of fancy equipment, no voiceovers with revolutionary

features. Just a long-term, memorable and emotional positioning with the

tagline: ’It’s not a reasonable decision.’

In the first slot, a mathematician whose life is ruled by rationality,

explains to the camera why he made all the choices in his life: wife,

number of kids, the house, the dog. Cut to a quick shot of the BMW

before he carries on talking about his garden. There’s no argument to

justify his new car. The loose execution helps as a final demonstration

of how to add some value to an existing model by avoiding cliches.

Some will see in this commercial a hint of the experimentation that Toni

Segarra looks for in some of his work. But nothing in it is a whim. And

considering the evolution of this brand’s advertising in the past, this

is something they should infinitely thank Toni and his team for.

The Panama Jack campaign, again created by S,C,P,F, gives a clear brand

focus in an over-crowded category where footwear brands fight for the

trendiest imagery. Everyday articles express their naive devotion to

these adventure boots: cans want to be kicked by them, a glass of water

wants to evaporate to increase the chances of touching one of these

boots. Even cows are willing to be reincarnated as a pair of Panamas.

It’s a real joy to see each of the ten-plus executions.

For my third and final ad, I have picked the much talked about campaign

for the National Organisation for the Blind Lottery, a collaboration

between the client, Slogan, and the creative agency, El Sindicato. Apart

from the hilarious dialogues and the approval it received from all kinds

of audiences, the remarkable thing about this ad is its consistency,

using a simple, powerful idea in every execution.

A man is so excited about the 200 million pesetas he could potentially

get for only 200 pesetas, that he starts spending the lottery prize

before winning it. In a surprisingly good use of an overused creative

device - the hidden camera - our man risks his life while trying to buy

a luxury country house, an impressive boat or a painting of himself by a

renowned artist.

Anything is possible with 200 pesetas and a lot of faith, as he keeps on

telling the astonished victims of the trick. It’s a simple idea that

reminds us that while this profession is all about ideas, it’s also

about trust.

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