Now that all the buzz has subsided about Trevor B’s ad in Campaign three weeks ago, we can all return to our normal lives and continue bickering about homage, inspiration, plagiarism, evolution or just good old-fashioned rip-offs. I prefer to embrace it all under the title ’appropriation’.

Now that all the buzz has subsided about Trevor B’s ad in Campaign

three weeks ago, we can all return to our normal lives and continue

bickering about homage, inspiration, plagiarism, evolution or just good

old-fashioned rip-offs. I prefer to embrace it all under the title


Appropriation leads me neatly on to a piece that reminded me of the

Woody Guthrie anthem filmed in black and white and sung by a variety of

American artists. Never mind. That was then, this is now. This comes

over as a big-time commercial that everyone with a whiff of envy is

anticipating a Coca-Cola or BA logo signing off. We can take our fingers

off the envy button when we realise it is good old Auntie BBC. Only

churlish sods would not appreciate how well constructed and directed it

is. Let them whinge on about why we should pay for something we’ve

already paid for. Love the Tom Jones insert and the Lou Reed finish.

As the finger hovers over the envy button, admit it, it’s


The Independent. No appropriation here. This is good old-fashioned boy

meets girl featuring one of our more distinguished lads, Martin


In a sanitised Groucho set we are expected to believe his rejection of

the bargirl. And then, to complete our amazement, he appropriates some

’one-to-one’ dialogue to qualify his rejection. Smugly turning back to

his Independent. In a follow up, he pops up with the high priest of

camp, Julian Clary, in another incredulous piece of social intercourse

involving bottle tops. Via skillful writing and deft direction the

creative team should just about avoid a gay rights demo outside their


The cunning plan devised for selling two brands of Beamish is


As we know, every big client loves a ’range’ ad and we have both brands

demonstrated via the positive and negative route. A Morrissey type dooms

and glooms about the dark side of life and an Evans/McLaren type

lyricises about the lighter side. When the creative team got this one

approved they probably had ambitions to direct it themselves or at use

an up and comer.

They need not have feared. The end results are skilfully appropriated

blending pop promos, Joe Sedelmaier, video installations etc to achieve

a clear-headed success.

I recently saw a film of Alexander McQueen’s fashion show which I

considered to be one of the more stylish and atmospheric pieces of work

I had seen for some time. I rather think the director of the Oxfam

commercial has also seen it.

This excellent film exudes the energy and enthusiasm of the ’it’ll be

alright on the night’ freebie school of film making. The frenetic

action, distressed type and sharp sound all add up to the kind of

commercial that even a cynic would admit is credible. It could have

tagged on to the end of London Fashion Week with conviction.

The endline is delivered by the star of the piece in adspeak, with the

aristo and estuary accents playing their own irrelevant game. Never


Welcome Oxfam, the new high-street brand.

The Body Shop is now establishment in terms of high-street brands and

its latest posters do a striking job in keeping its image clattering on

through the 90s without too much of a struggle. These catch the eye.

Easy, you might say, nudes and all that. Not so easy, I say. These

excellent photographs were created by a man who knows his Horst from his

Weston and this is a clear case of homage and inspiration used

correctly. But all credit to the creative team in choosing the right

photographer. These posters should keep the Body Shop in good shape.

There’s no room here for irreverent Two Dogs-type humour with

gratuitously distressed type. The Financial Times remains securely in

the boardroom.

This is proper advertising. Target audience respected. Right tone of


Time-honoured line.

To the 174 families at Euro I read about in the Guardian. My VDCPF Mark

W. will not fail you.

The Independent

Newspapers Group

Project: The Independent

Client: Margaret Harvey, marketing director

Brief: Dramatise the change message while appealing to young urbanites

Agency: M&C Saatchi

Writers: Angela Jones, Merlin Sinclair

Art directors: David Dao, Justin Bussell

Director: Theo Delaney

Production company: Tomboy Films

Exposure: National TV

Financial Times

Project: Financial Times

Client: Julia McKechnie, marketing director

Brief: Position the FT as the global business newspaper

Agency: Delaney

Fletcher Bozell

Writer: Richard Warren

Art director: Tim Peckitt

Photographer: Jack Bankhead

Typographer: Tim Peckitt

Exposure: National/global press, airport posters, in-flight magazines

and trade press


Project: Oxfam shops

Client: Sarah Shekleton, marketing manager

Brief: Encourage young people to discover fashion gems at Oxfam shops

Agency: Leo Burnett

Writer: Ben Gooden

Art director: Matt Walker

Director: Kieran McGuigan

Production company: Wowhaus

Exposure: National cinema

The Body Shop

Project: Aromatherapy

Client: Nina Costerson, head of marketing, UK retail

Brief: Launch the

aromatherapy range

Agency: Bean Andrews Norway Cramphorn

Writers: Gary Sollof, Jeff Ford, Graeme Norways

Art directors: Gary Sollof, Jeff Ford, Graeme Norways

Photographer: Nadav Kander

Exposure: National press,

48-sheet posters, tube cards

Scottish Courage

Project: Beamish

Client: Brian Sharp, brands director, ales

Brief: Beamish brews a beer for each side of the Irish character

Agency: Rainey Kelly Campbell Roalfe

Writer: Robert Campbell

Art director: Mark Roalfe

Director: Jeff Stark

Production company: Stark Films

Exposure: National TV


Project: Corporate

brand campaign

Client: Jane Frost, head of corporate communications

Brief: Reflect the BBC’s ability to serve a diverse range of musical


Agency: Leagas Delaney

Writer: Will Farquhar

Art director: Ian Ducker

Director: Gregory Rood

Production company: The

Paul Weiland Film Company

Exposure: BBC TV and radio