Feature

The Work: Private view

CREATIVE - Ben Priest, founding partner, Adam & Eve

There are eight of us at Adam & Eve. Guys and girls from the worlds of advertising, design, comms planning, digital and content, all sitting around one table.

This arrangement is great for the way we work, but a total disaster for doing Private View. Within three seconds of the fragrant Harriet opening the envelope containing this week's offerings, the whole gang were involved. Work was uploaded or pinned on walls and everyone had a say. So, without further ado, I give you the first all-agency Private View.

We start with a campaign for Emirates (3). The agency has been given the strapline "Keep discovering" and asked to bring it to life online. The idea it's come up with is simple, beautiful and easy to use. We're presented with stunning footage of destinations, which, when scrolled over, switch to personal views of the same sight. Job done and well done to everyone at Lean Mean Fighting Machine.

Continuing the personal view theme, Levi's (6) is up next with some ballsy posters for their Original jeans. These play on the maverick side of the brand, with conventional folk staring out of the ads at us. As a group, we liked them, and those young, denim- clad hipsters Tasker and Harris felt the firing squad and cop executions were "sweet", "well nice" and a whole host of other words I am too old to use.

Everyone here had already noticed the VSO (2) press ad in the papers. The John and Yoko image is a show-stopper and a good reminder of the power of a great picture. Personally, I think the headline is nowhere near strong enough, but I feel very uncharitable criticising such a good cause.

The new Fiat Grande Punto (4) is a cracking-looking little car. I'm afraid the commercial that goes with it left us lukewarm. It's a lot of footage of the car driving around to an up-tempo Italian track and the endline: "The Italian Job remixed." Golding, who is our resident Jeremy Clarkson, was heard to ask: "Wouldn't this have made a better ad to launch the new 500?"

Some sumptuous new P&O (5) ads sail into view next. These caught James' attention, and he felt they did a good job of moving cruises away from the blue-rinse brigade and making them appeal to a younger crowd. Naturally, he couldn't resist adding that the whole thing would undoubtedly have been improved by the addition of a Layo & Bushwacka! soundtrack.

Finally, some brilliant idents for Bombardier (1). It's sponsoring Al Murray's Happy Hour and has created a fruit machine of Englishness to celebrate this. In each spot, the machine spins and creates different combinations of all things wot are proper English. The first one I got was "It's like Del Boy flogging Brighton Rock to Henry VIII". It all fits neatly with its line: "Drink of England." These are nothing short of great, in a medium where it's easy to fall flat or be downright irritating. As Mr Forsyth pointed out, they would also be good online, so let's hope they end up there, too.

Well, that's all folks. As a start-up, we know just how hard it is to get clients, let alone to get good work out. We appreciate everyone involved in this week's bunch has worked their nuts off, taken a few knocks and done their very best, so, after all that, if we still don't like your work, please don't be cross. We've been asked for our opinion, and that's all we're giving. By tomorrow afternoon, no-one will remember what we've said, and, hey, it could be worse, you could have had something to do with that new Ford commercial, where weird people in grey suits play terrible music on plastic-looking bits of a Ford Focus. Dear, oh dear.

CLIENT - Justin Billingsley, brand marketing director, Orange

"Make the truth interesting" is the best summation I've heard of advertising's purpose in the world. Some of the work in this week's batch does that. But there are also things that brands wish were true which simply aren't, and some truths that need to be a whole lot more interesting to really matter.

First up is the Fiat Grande Punto (4), which is delivering the "The Italian Job remixed". I understand how Minis capering around their hometown would have irritated Fiat execs in 1969, while creating an iconic urban car chase. But I don't understand why, if you are advertising in a category with such notoriously low recall and brand attribution, you would use iconography so clearly cemented to a competitor. How many people are talking about that funky new Mini ad, particularly when any Fiat press buzz right now is around the new Nuova? That said, it's a great soundtrack that differs from the acoustic folk now infecting the car industry.

While the Minis were running riot in Turin, John and Yoko were giving peace a chance from their bed. Thirty-nine years later, and here we are still needing volunteers to "start a chain reaction" like they did. Though, these days, bed-sitting isn't enough, so VSO (2) is there to help us discover how to make a difference. Forging a new generation of volunteers is a tough gig, but I'd suggest those inspired by John and Yoko have acted or rejected long before now, and I'm just not sure how this connects today. Too much is taken for granted in this copy. What does VSO stand for? What do you want from me? What have you achieved if not a lasting peace? This kind of approach needs to be more personal, accessible and current.

Levi's (6) is making a better run at the next generation than VSO. This new print work is fantastic - fresh, involving and true to the icon. I prefer the cheerleader, father and cops copy to the others, which feel more contrived and less accessible. We all know the "never fit" feeling, and these images elicit it beautifully.

Some of the better creative around today is in idents - for some reason, the format's constraints of time and consistency is unlocking something richer. This work from Bombardier (1) is no exception, and, in fact, some of the best - this is a great mechanic with, literally, many engaging permutations. Inexpensive to produce and even better to invest in longevity.

We round off this week with two travel brands. First up is P&O (5) with its "emotions" work. This is beautiful work that is well shot, smartly edited and powerfully soundscaped. The reason it doesn't work falls squarely with the client brief, unless, of course, that was to "show people all the amazing things they could be doing if they weren't stuck on one of our boats". Maybe they could sell it on to British Airways.

If the P&O work has inspired me to travel, I'm going to get there faster with Emirates (3). Its new digital work is spot-on, getting past the generic location glamour shot and putting you in the action, just an Emirates flight away and not available on a boat. Engaging if you're in the market, pretty if you're not. The Sydney ferry work made me homesick - Kirribilli to Circular Quay was my commute for two years, and I just couldn't have a bad day. If I could have gone home and made a difference protesting from my bed, I'd have been a happy man.

1. BOMBARDIER
Project: It's like ...
Client: Wells & Young's Bombardier
Brief: Promote Bombardier as the "Drink of England"
Agency: Mustoes
Creative directors: Ben Friend, Simon Brotherson
Director: Bitstate
Production company: The Eberling Group
Exposure: TV idents

2. VSO
Project: Chain reaction
Client: Amy Stillman, head of communications and public engagement, VSO
Brief: Increase awareness of VSO and encourage people to get involved
with VSO as a volunteer, campaigner or donor
Agency: Kitcatt Nohr Alexander Shaw
Writer: Simon Robinson
Art director: Jamie Tierney
Photographer: Charlie Ley
Exposure: Press, outdoor

3. EMIRATES
Project: Keep discovering
Client: Clare Vaughan-Davies, manager internet communications, Emirates
Brief: Encapsulate the spirit of the Emirates endline "Keep discovering"
through an online ad campaign
Agency: Lean Mean Fighting Machine
Writers: Sam Ball, Dave Bedwood
Art directors: Sam Ball, Dave Bedwood, Matt Beecroft
Exposure: Online

4. FIAT GRANDE PUNTO
Project: Fiat Quando Quando remixed
Client: Elena Bernadelli, UK marketing director, Fiat Auto
Brief: Generate test drives of the Grande Punto
Agency: Krow
Writer/art director: Krow
Director: Olivier Venturin
Production company: Film Master, Italy
Exposure: TV

5. P&O
Project: Shiver, butterflies, weight
Client: Philip Price, head of brand marketing, P&O Cruises
Brief: Communicate the world out there to be discovered on a P&O cruise
Agency: Miles Calcraft Briginshaw Duffy
Writer: Gavin Torrance
Art director: Danny Hunt
Director: Joe Roman
Production company: Knucklehead
Exposure: TV

6. LEVI'S
Project: Originals never fit
Client: Michael Joubert, vice-president, marketing, Levi Strauss & Co
Europe
Brief: Reignite the free-thinking, rebellious spirit of the brand
Agency: Bartle Bogle Hegarty
Creative team: Nick Allsop, Simon Veksner
Photographer: Joseph Rodriguez
Exposure: Press, posters