If there’s one thing more disappointing than not winning a major US sportswear brand it’s getting the stuff for Private View and finding there’s not one stinker among them. You try being funny about half-decent ads! It just isn’t the same. So, apologies in advance if this week’s column seems a little tame.

If there’s one thing more disappointing than not winning a major US

sportswear brand it’s getting the stuff for Private View and finding

there’s not one stinker among them. You try being funny about

half-decent ads! It just isn’t the same. So, apologies in advance if

this week’s column seems a little tame.

Beginning with AMV and the Aer Lingus ads. Well, apart from the howling

typo in the client’s name of all places (back in my AMV days I was

constantly on at Dave and Ron to ’check and double check’, yet still

these gaffes slip through) these are very nice ads. I didn’t receive the

Shane MacGowan execution in my pack, but I recently saw it in the papers

and it looked great. My only worry is that they might have the same

cavalier attitude to hiring pilots as they do to rushing you through

customs. As the worst flight I’ve ever had in my life was on said

aerline, I’ve a nasty suspicion that my fears may not be groundless.

Plus the thought of flying with a group of passengers who all have

reason to avoid US Customs does not exactly fill me with confidence.

More press now from BMP for the National Dairy Council. OK, it’s the old

’he’s got the milkman’s eyes’ gag and, yes, it’s another X-ray visual,

but it just about works. The art director has shown restraint and wisely

elected not to overdo the pathology/lab-report thing, with just the type

nodding towards matters medical. It’s down to his restraint and the

power of the brand that these do not look grisly. There aren’t many

products, let alone food products, let alone healthy food products aimed

at children, that look good being carried by a skeleton. The milk bottle

is still a potent symbol. How good would these have looked with a

half-opened carton?

’Whatever you do, take Pride’ goes the strapline for London Pride.

Obviously that includes mercilessly ripping off other people’s ads. I

first saw these for Radio Scotland and very lovely they were too. I’m

sure the defence was that they only ran north of the border, but they

also ran in the D&AD Annual. A piece of advice: if you’re going to nick

ideas, don’t do it from the adland Bible. Use the American OneShow

Annual like everyone else.

And remember what pride comes before. Especially if you’ve had a


M&C Saatchi’s ITV work is a bit over the top. Shot and lit like a Levi’s

film, it rather labours the point that sport shouldn’t be reduced to a

peep show. I heartily agree and would definitely watch more ITV if the

best thing on it wasn’t my ads.

I do like the new Barclaycard work. I had grown increasingly tired of

the Rowan Atkinson ads and was more than pleased to see him shuffle off

(you can bet he doesn’t have to stick it on Barclaycard any more).

The DIY execution is miles better than the restaurant one, but this too

is not without charm. How they gained access to my house to shoot this

spot is beyond me. The ending has all the glorious timing of a classic

Laurel and Hardy film. If you’ve ever seen the one where the chimney

collapses on Ollie, you’ll know what I mean.

So that’s ... hold on, there’s another U-Mat stuck at the bottom. Oh,


It’s the Campbell’s Soup ad where they cut the tins in half. Looks like

it’s going to be a funny column after all!

This is horrid. And it’s bollocks. We see the tins being sawn in half to

reveal, not a glutinous, vomit-coloured puddle of crap, but, surprise,

surprise, real vegetables.

Apparently this soup is so lovely that even kids, albeit cloned kids,

just can’t get enough. Depressingly competently shot, this is the kind

of bland nonsense that Saatchis used to sweep under the carpet in favour

of their more showy charity accounts. A wise policy they’ve foolishly


Apparently there is a second ad featuring Cream of Chicken and


Directed by Wes Craven, it is said to be too disturbing to show Before 9


Aer Lingus

Project: Brand campaign

Client: David Bunworth, marketing director

Brief: Force positive reassessment of the brand

Agency: Abbott Mead

Vickers BBDO

Writer: David Hieatt

Art director: Paul Brazier

Photographer: Robert Wilson

Typographer: Neil Craddock

Exposure: National press

National Dairy Council

Project: Milk

Client: Andrew Ovens, marketing manager

Brief: Persuade mothers to give their children more milk

Agency: BMP DDB

Writer: Sean Doyle

Art director: David Dye

Photographer: Giles Revel

Typographer: Neil Craddock

Exposure: Women’s weekly and monthly magazines


Project: Sport

Client: Sam Carter, head

of marketing Brief: Communicate that

sport is free on ITV

Agency: M&C Saatchi

Writer: Pete Cain

Art director: Louis Bogue

Director: Chris Cunningham

Production company:

RSA Films

Exposure: National TV

Fuller Smith & Turner

Project: London Pride

Client: John Roberts, marketing director

Brief: Associate the London Pride brand with the English rugby team in

the November and December series

Agency: Doner Cardwell Hawkins

Writer: Chris Kirk

Art director: Ivan Davies

Director: Jason Fisher-Jones

Production company: English & Pockett

Exposure: Sky and LWT


Project: Barclaycard

Client: Paul Parmenter, marketing director

Brief: Barclaycard can help you purchase the necessities of life when

you need them

Agency: BMP DDB

Writer: Tim Charlesworth

Art director: Michael Kaplan

Director: David Kellogg

Production company: Propaganda

Exposure: National TV

Campbell’s Grocery Products

Project: Campbell’s Condensed Soup

Client: Sarah Steed,

marketing manager

Brief: Educate consumers on the benefits of condensed soup

Agency: Saatchi & Saatchi

Writer: Cliff Francis

Art director: Cliff Francis

Director: Suan Tung

Production company: Tsunami

Exposure: National TV

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