The Work: New Campaigns - UK


Project: Breeze

Client: Mark Sandys, marketing manager, Gordon's Gin

Brief: Demonstrate the fact that Gordon's is a clear drink with a

colourful flavour

Creative agency: Bartle Bogle Hegarty

Copywriters: Dave Monk, Matt Weller

Art directors: Dave Monk, Matt Weller

Planner: Gwen Raillard

Media agency: Carat

Media planner: Sue McGrath

Production company: Passion Pictures

Director: John Robertson

Editor: John Robertson

Post-production: Rushes

Audio post-production: Wave

Exposure: National TV

THE LOWDOWN Diageo is using a painting-by-numbers-themed television campaign to help cement the market-leading position of its Gordon's Gin brand in the UK.

Gordon's saw its share of the UK gin market grow nine points to 40.2 per cent in the year to September - three times the percentage growth of the overall drinks market, according to ACNielsen figures.

The new ad, by Bartle Bogle Hegarty, aims to capitalise on the Christmas period, which accounts for 30 per cent of Gordon's annual sales. It will run well into next year.

The commercial, produced and directed by Passion Pictures' John Robertson, is set in a landscape constructed entirely from painting-by-number scenes, animated to the psychedelic strains of the track Pictures of Matchstick Men by Status Quo. Numbers, which represent the brand's ingredients, detach themselves from their natural environment and float into a glass of G&T, communicating the colourful flavour of the drink.


Project: Naked

Clients: Julie Baker, marketing director, and Andy Rawle, senior brand

manager, Brylcreem

Brief: Reinforce Brylcreem's uniquely male "Original British Style"


Creative agency: WCRS

Copywriter: Andy Brittain

Art director: Yu Kung

Planner: Debbie Klein

Media agency: ZenithOptimedia

Media planner: Richard Oldfield

Production company: Epoch Large

Director: Matt Aselton

Editor: Paul Watts

Post-production: MPC/VTR

Audio post-production: 750mph

Exposure: Cinema


Brylcreem is putting ú1.1 million behind a risque cinema ad to increase sales among its core 16- to 24-year-old male audience.

The 30-second spot, by WCRS, for the Sara Lee-owned brand shows men in a series of eyewatering situations wearing nothing but Brylcreem. One is a butcher, chopping up a string of sausages with a large, sharp knife. Another is riding a bicycle naked. However, people who see them don't notice their state of undress because they've got such great hair. The campaign's strapline is: "All you need is Brylcreem." The ads will appear around forthcoming features including After the Sunset and The Manchurian Candidate.


Project: Aquafresh Sensory range

Client: Harriet Whiting, brand manager, GlaxoSmithKline

Brief: Launch Aquafresh's Sensory range of toothpaste

Creative agencies: Michaelides & Bednash, Antidote

Copywriter: Tim Ashton

Art directors: Chris Wigan, Oliver Davies

Planners: Paul O'Neill, James Clent

Media agencies: Michaelides & Bednash, MediaCom

Media planners: Paul O'Neill, James Clent, Clay Gill, Rob Sawyer

Exposure: Bus stops and poster sites in Manchester


Manchester commuters who suddenly find themselves in visually assaulting "sensory zones" instead of at their usual bus stop should have no cause for concern - the op-art redecoration of bus stops around the city is part of a through-the-line campaign for Aquafresh devised by Michaelides & Bednash and Antidote.

Twenty "zones" have been created in three colours to reflect the new range of invigorating Aquafresh flavours. The "wakey wakey", "refresh" and "revive" zones, supported by a series of six-sheet posters across Manchester, form part of a ú4.3 million marketing push by GlaxoSmithKline for its new toothpaste lines. A TV campaign for the brand, created by Grey, is already on air and in-store activity, sampling and a targeted consumer PR campaign are included in the marketing spend.


Project: Loot relaunch

Client: Jo Earl, marketing director, Loot

Brief: Support the Loot relaunch activity and articulate the new

offering, driving advertising sales

Creative agency: Liquid Communications

Copywriter: Jamie Fleming

Art director: Steve Bewick

Planners: Olly Raeburn, Chris Friend

Exposure: 95,000 mailing


Faced with stiff competition from eBay, Loot is relaunching in a bid to boost its weekly circulation of 147,000. Liquid Communications is promoting the relaunch with a direct marketing campaign to raise awareness of Loot's revised print and online products.

The campaign targets four audiences: new customers; lapsed customers; higher-value regular users and customers who rarely use a specific Loot category.

A simple fold-out pack, sent to 95,000 contacts, features graphic representations of different items that might be found in the newspaper or on its website.

Liquid's DM work complements taxi, bus, poster and press work created by Bloom, and a relaunch e-mail message to 350,000 contacts.


Project: Cornershop

Client: Sacha Spencer Trace, editor, Marmalade

Brief: Drive subscriptions to Marmalade magazine

Creative agency: HHCL/Red Cell

Copywriters: Saskia Burrowes, Blainey

Art directors: Saskia Burrowes, Blainey

Planner: Alex Best

Media: In-house

Illustrator: Mr Bingo

Exposure: Marmalade (international)


The niche style magazine Marmalade, from Hotbed Publishing, claims an international circulation of 45,000 in cities including London, New York, Rome, Milan, Paris and Tokyo. However, it is aiming to boost this number by turning casual readers who buy it at newsagents into full subscribers.

HHCL/Red Cell has created two full-page ads showing cut-out sketches of items available in the average high-street corner shop, so those casual readers will not feel they are missing out on anything.

The pages, which were designed by the animator Mr Bingo, will run in the revamped December issue and feature such items as penny chews, copies of Campaign, Design Week and the Daily Mail, and (presumably) over-priced and out-of-date yoghurts.


Project: Waitrose Christmas campaign

Client: Amanda Bindon, head of marketing, Waitrose

Brief: Demonstrate the superior quality of the Waitrose Christmas


Creative agency: HOW

Copywriter: Chris O'Shea

Art director: Ken Hoggins

Planner: Andy Nairn

Media agency: Brand Connection

Media planner: Rob Bellass

Production company: Nice Shirt Films

Director: Stuart Douglas

Editor: Jonathan Scarlett

Post-production: Tom Sparks

Audio post-production: Jungle

Exposure: National TV, cinema


In September this year, Waitrose split its ú9 million ad account between Clemmow Hornby Inge and HOW, the start-up formed by Ken Hoggins and Chris O'Shea after their departure from Banks Hoggins O'Shea/FCB.

The Waitrose Christmas campaign is the first to come from HOW following its appointment. Taking a different approach from previous advertising, the two 30-second spots focus on supplier relationships, illustrating how farmers, growers and suppliers work together to create the perfect family Christmas.

The spots follow in a long line of beautifully art-directed Waitrose work. Set to the Bill Withers' track Lovely Day, nine suppliers are shown in their daily working life producing everything from sherry to sprouts.

This year, Waitrose boosted its market share from 3.2 per cent to 3.6 per cent following new store openings.


Project: New Vauxhall Tigra

Client: Peter Hope, integrated marketing manager, Vauxhall

Brief: Launch the new Tigra

Creative agency: Lowe

Copywriter: Simon Brotherson

Art director: Steve Paskin

Planner: Simon Cotterrell

Media agency: Initiative

Media planner: Steve Pople

Production company: Smith and Jones

Director: Ulf Johansson

Exposure: Cinema


Yet another player in the competitive female-targeted small car sector, the new Tigra is running a cinema campaign alongside the new Bridget Jones film.

In what we are led to believe is a driving test, a young woman performs a series of manoeuvres in her new Tigra. As the ad - by Lowe - progresses, her male passenger's behaviour becomes more aggravating. The girl races back to the test centre where she informs him he has failed her test - he's going to have to find another date. The ad ends with the line: "Two seats. Use them wisely."


Project: Look for the logo

Client: Jasper Bell, new-media manager, Energy Saving Trust

Brief: Increase public awareness of energy efficiency in domestic


Creative agency: Dare

Producer: Keiron Matthews

Planner: Rebecca MacKenzie

Media agency: i-level

Media planner: Alex Miller

Exposure: Websites, including Channel 4 Homes, UK Style and Ciao


In the UK, around 28 per cent of all CO2 emissions come from the energy used to run homes. The Energy Saving Trust's digital campaign aims to encourage homeowners to buy white goods labelled with the energy efficient logo.

The campaign features a homepage takeover execution that spins the content around like a washing machine drum. There are also banners and skyscrapers where dishwasher and fridge doors swing open to reveal how much energy the appliances can waste. The ads target consumers searching for white goods online and will appear on web pages where the products are available.


Project: Pool

Client: Alex Hickman, chief executive, Vote No

Brief: Raise awareness of the European constitution and make a case to

the public for voting against it in a referendum

Creative agency: WCRS

Copywriters: Jo Davies, Iskra Tsaneva

Art directors: Jo Davis, Iskra Tsaneva

Planner: Liz Steadman

Media: Carlton Screen Advertising

Production company: The fink tank

Director: Dan Cohen

Editor: Steve Beard, Boomerang

Post-production: The Moving Picture Company

Exposure: Selected London cinemas


Vote No is an initiative set up by some of Britain's business leaders to stop the proposed European Union constitution, and the campaign's cinema ad is a worthy bid at explaining an issue that leaves many people cold.

The 40-second low-budget commercial features a young man, looking uncannily like a young Bob Geldof (himself the star of a "keep the pound" campaign), talking to camera in a bare room with a pool table. First, he pushes a white cue ball, representing the voter, against a red, representing the Government. So far, so good. But what would happen, he asks, under the new EU constitution? Again, he hits the white against the red ball, but this time the red hits a supersized black ball - the EU - that stops it in its path. The endline reads: "Say yes to Europe. No to the EU constitution."

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