America’s Deep South as seen through the eyes of writers such as
William Faulkner and Margaret Mitchell is being recreated in new TV
advertising for Mars’s Galaxy chocolate brand.
A 40-second spot, breaking nationally on 1 April, marks the start of an
attempt to contemporise the brand by putting a free-thinking modern girl
into a traditional setting. At the same time, the campaign is trying to
extend the potential of Galaxy’s endline, ’Why have cotton when you can
have silk?’, which has helped position it as a female indulgence.
Grey has produced the film, part of a pounds 6.6 million initiative to
support both the Galaxy Block and Galaxy Ripple, to appeal to young
adults. A press campaign for Ripple, the first in five years, will
support the television work.
Billie Holiday’s recording of George Gershwin’s Summertime is the
soundtrack for the commercial, which is set on a cotton plantation. In
the film, a share-cropper’s daughter manages to escape her stern father
to slip into a silk dress before being whisked away by a handsome field
hand to live out her fantasy romance.
Tim Mellors, Grey’s creative director, has been attempting to give fresh
impetus to Mars’s advertising since taking over the creative hotseat at
the agency at the beginning of the year.
He said: ’I’ve always felt there was a much more evocative and sensual
way of using this powerful endline. By setting the ad in Gone with the
Wind country I think we’ve pulled it off.’ The film was written by Dave
Rimmel, art directed by Paul Pickersgill and directed by Erick Ifergan
for The End.
’Galaxy advertising has had a consistent style for the past ten years,’
Saul Pearce, the agency’s group account director for Mars, said. ’Now
there’s a need to move it on so that the woman is no longer seen in
isolation but as part of the real world.’
The Ripple campaign comprises two press executions aimed at men and
women respectively. An ad for women’s magazines features a muscular
model pulling up his shirt to reveal a rippling stomach and the line:
’Ripple. For heightened pleasure.’ They were written by Ivor Jones and
art directed by Gary Woodward with photography by Bob Carlos-Clarke.