The latest print campaign from Timex troubles me. In it, Timex sponsors a series of musings about time - some of which you will see opposite.

The latest print campaign from Timex troubles me. In it, Timex

sponsors a series of musings about time - some of which you will see


The musings, some pithy, some taking up a column of copy, are

beautifully conceived and delivered and are clearly the work of

craftspeople at the very top of our profession.

My troubles are substantial.

David Fincher - the director, as you know, of Seven and Fight Club -

long ago directed one of the less successful and more abstruse Alien

sequels and, in a famous attack on commercialism, declared that he had

made it for the exclusive audience of himself and his 12 closest


In this Timex work we have, I believe, a similar philosophy at play.

There is no question in my mind that creative advertising awards juries

with time and space at their disposal will pore over this work, be

flattered by its recognition of their intellectual abilities and thus

reward it for its cleverness, depth and insight.

There is also no doubt that this work is genuinely designed to insinuate

itself inside the consumer via the same process. But while real people

do a lot of strange things, including putting small animals up their

bottoms and supporting Arsenal, they don’t pore over press ads,


I have little doubt that the Timex campaign’s 12 best friends will vote

it straight into the new D&AD annual - not quite the honour it used to

be toward the end of the old century and often akin to movies going

’straight to video’. While both may have merit, however esoteric,

neither is required to perform commercially against real people.

There’s not one single item in Campaign’s fascinating Hall of Fame that

requires poring over. The same can be said of the scintillating new Ikea

work. The startlingly original and hilarious idea of selling Ikea’s

reasonably priced furniture using the vehicle of people desiring a fresh

start after their relationships have ended is already being repeated

word for word and gesture for gesture down a pub near you.

Respect also to great work from the director who, together with the

team, will be looking at golds all spring (but may just prove too

popular for a black pencil).

The Oxfam commercial is groovy. It’s got the absolutely adorable young

Twiggy dancing about for 30 seconds or so. We’re then told that her fab

outfit is now available at Oxfam. What a cool way to start making an

unfashionable charity fashionable.

Nothing esoteric about the Ready2Shop press ads opposite. As you can see

they speak for themselves. Whether the tone of voice in which they speak

is one which you respond to is a matter for you and the breadth or

otherwise of your personal socio-political development.

The Lynx effect, which is that when you smell of Lynx people are

attracted to you (not to be confused with smelling of lynx, which is

liable to get you shot and mounted, and not necessarily in that order)

continues to be explored more and more interestingly. The one where the

girl starting the cycle race refuses to let go of the cyclist is a


Admiral, the maker of old-school football togs, stays with the old

school with two commercials. One is a folksy number dahn the markit with

El Tel as himself, Bobby Charlton as a shopkeeper and various others

giving it high jinks in an East End ding-dong stylie. The second is a

little more sinister, involving Emlyn Hughes’ obsession with the Poles,

which leads him, in his Admiral shell-suit, to a den of iniquity where

scantily clad women dance around, you got it, poles.

Remember Hugh Grant’s brilliant best man speech at the start of Four

Weddings and a Funeral? Now remember James Fleet’s less successful best

man speech later in the film (’All his other girlfriends were dogs, and

I can see most of them here today’, etc.). This Admiral work suffers

similarly by comparison with the brilliant Nike ’Parklife’ work which,

in many ways, it follows.


Project: Time UK

Client: Alyson Green, marketing director

Brief: Timex as the perfect timekeeper

Agency: Fallon McElligott

Writers: Rob Potts and Andy McLeod

Art directors: Andy Jex and Richard Flintham

Exposure: National press and posters


Project: Admiral clothing range

Client: Colin Donaldson, licensing director

Brief: Relaunch the Admiral brand

Agency: Magic Hat

Writer: Simon Aboud

Art director: Simon Aboud

Director: Simon Aboud

Production company: 2wenty6

Exposure: National cinema


Project: Oxfam

Client: Sarah Shekleton, shops marketing manager

Brief: Make people reappraise the clothes they can discover in Oxfam

Agency: BMP DDB

Writer: Patrick McClelland

Art director: Grant Parker

Director: Original 60s TV footage

Exposure: Cinema


Clients: Susannah Constantine and Trinny Woodall, founders and


Brief: Launch and develop brand awareness of the Ready2Shop website

Agency: Bartle Bogle Hegarty Writers: Claudia Southgate and Verity

Fenner Art directors: Claudia Southgate and Verity Fenner

Exposure: National newspapers

Elida Faberge

Project: Lynx

Client: Patrick Cairns, brand director

Brief: Communicate the core brand message that Lynx helps you get the


Agency: Bartle Bogle Hegarty

Writers: Pete Bradley, Marc Hatfield

Art directors: Marc Hatfield, Pete Bradley

Director: Jonathan Greenhalgh Production company: Godman

Exposure: National TV


Project: Ikea

Client: Matti Naar,

marketing manager

Brief: Separation is a fact of modern life. Only at Ikea can you furnish

your new home instantly

Agency: St Luke’s

Writer: Alan Young

Art director: Julian Vizard

Director: Vaughan Arnell Production company: Godman

Exposure: National TV

Mark Wnek is the executive creative director of Euro RSCG Wnek Gosper


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