Name: Vaseline - Vaseline Verified (case study) @LLLLITL
Uploaded: 2026-09-21T08:17:00-05:00
Duration: 8 min 17 s
Description: Vaseline - Vaseline Verified (case study)

Vaseline - Vaseline Verified (case study)

LLLLITL 2026-09-21 | Vaseline - Vaseline Verified (case study)

Vaseline - Transition Body Lotion (case study)

LLLLITL 2024-06-21 | Vaseline has unveiled the Transition Body Lotion: a pioneering skincare product tailored specifically for transgender women. This innovative body lotion marks a significant advancement in Vaseline's mission of promoting "healthy skin for all."

Recognizing the unique skincare challenges faced during the transitioning process, particularly in Thailand which has one of the largest transgender populations globally, Vaseline dedicated two years to research and co-development. The result is the Transition Body Lotion, the first clinically validated skincare solution for transgender women, featuring beneficial ingredients like niacinamide and isoflavones to support a smoother and more natural transitioning journey.

Launched on International Transgender Day of Visibility, this product introduction has made a substantial impact in Thailand. With the backing of Ogilvy Singapore, the campaign achieved 158 million impressions and saw the product sell out in numerous Watsons stores across the country. The initiative boosted purchase intent by an impressive 725% above the standard benchmark, underscoring Vaseline's commitment to inclusivity.

Louis Piereck, Senior Global Brand Director of Vaseline, noted, “It’s rare for an agency to respond to a communication brief with a product idea. But when that idea aligns so perfectly with your brand's purpose, you have to act on it.”

Through this initiative, Vaseline has strengthened its relationship with the transgender community, appealed to advocates of inclusivity, and reinforced its position as a leader in the inclusive beauty market.

AWARDS
Cannes Lions 2024
- Glass 'The Lion for Change' Grand Prix
- Bronze in PR

CREDITS
Brand: Vaseline (Unilever).
Senior Global Brand Director: Louis Piereck.
Senior Global Brand Manager: Jeet Vijan.
Creative Agency: Ogilvy, Singapore.
Production Companies: Double Y Bangkok and Soldats Films Paris.
Media Agency: Mindshare Bangkok.
PR Agencies: Edelman Bangkok and Ogilvy Singapore.

KPN - A Piece of Me (case study)

LLLLITL 2024-06-20 | In February, the music video for "A Piece of Me" by Dutch singer-songwriter MEAU was launched in the Netherlands, and it has now been released internationally with a new English version, "Piece of My Soul." This campaign, spearheaded by leading Dutch telecommunications provider KPN in collaboration with Dentsu Creative Amsterdam, aims to raise awareness about the issue of online shaming among Gen Z. The campaign carries the crucial message: "Think Twice before you forward."

In the past six months, 33,000 young people in the Netherlands have fallen victim to the non-consensual forwarding of intimate photos. Victims are often unfairly portrayed as perpetrators, leading to severe consequences such as loneliness, depression, and even suicide. To combat this, KPN partnered with MEAU, experts, and victims to create "A Piece of Me," a song and music video illustrating how forwarding intimate content without consent can devastate lives.

Since its launch, the video has amassed 9 million streams, millions of shares, and secured a Top 3 spot in the music charts. It has been shown in hundreds of schools across the Netherlands to educate students on the effects of online shaming. Creative Directors Gijs Sluijters and Joris Tol emphasized the importance of creating content that resonates with Gen Z, turning the stories of online shaming into conversation starters at schools and homes.

The campaign's impact has extended beyond public awareness, influencing political action. The Dutch senate approved The Dutch Sexual Crimes Act on March 19th, which criminalizes the forwarding of intimate pictures without consent.

Following the video's success in the Netherlands, KPN and Dentsu Creative Amsterdam launched the English version to spread the message globally. KPN CEO Joost Farwerck discussed the campaign's insights and goals in an interview on Sky News' Business Live, highlighting KPN's commitment to online safety.

With the international release, KPN aims to propagate the campaign's message, "Think before you forward," worldwide, encouraging both young people and adults to reconsider before sharing sensitive content without consent.

AWARDS
Cannes Lions 2024
- Creative Strategy Grand Prix
- Silver in Entertainment Lions for Music
- Silver in Health & Wellness

CREDITS
Brand: KPN, Netherlands.
CEO: Joost Farwerck.
Creative Agency: Dentsu Creative Amsterdam.
Production Companies: Amp Amsterdam and Wefilm Amsterdam.
Post Production Company: Crabsalad Amsterdam.
Media Agency: Mindshare Amsterdam.
PR Agency: HPB (Het PR Bureau) Amsterdam.

Philips - Refurb: Better Than New (case study)

LLLLITL 2024-06-20 | The "Better than New" campaign for Philips Refurb Editions launched in Germany, highlighting the brand’s commitment to sustainability with eye-catching visuals and a compelling message. On June 20, a Pop-Up Store in Hamburg's Rindermarkthalle St Pauli invited people to explore the concept that new doesn't always mean better. Instead of selling products, the store promoted the idea that purchasing refurbished items can reduce environmental impact while still providing high-quality products with the same two-year warranty as new ones.

Philips collaborated with Amsterdam-based creative agency LePub and the co-founders of Italian image-only lifestyle magazine TOILETPAPER to create the campaign’s visuals. The imagery, featuring TOILETPAPER's signature retro-future style, revisited Philips' iconic mid-twentieth century advertising with a modern twist. This creative approach was designed to capture the imagination and attention of consumers, challenging them to rethink their purchasing habits.

The campaign aimed to raise awareness of the benefits of refurbished products, emphasizing Philips' circular business models that use fewer raw materials and generate less waste. By featuring more than 39,000 refurbished products that found new homes in 2022, the campaign highlighted Philips' success in preventing 139 tons of e-waste and generating 18% of its revenue from circular propositions that year.

Robert Metzke, Philips Global Head of Sustainability, emphasized the campaign’s goal to change perceptions about new purchases. The "Better than New" campaign underscored Philips' ambition to generate 25% of its revenue from circular products by 2025, with all products designed using EcoDesign principles. The striking visuals and innovative approach aimed to make sustainability appealing and stylish, reinforcing Philips' dedication to embedding sustainability in its business practices and achieving long-term impact.

AWARDS
Cannes Lions 2024
- Creative Business Transformation Grand Prix

CREDITS
Brand: Philips.
Global Head of Sustainability: Robert Metzke.
Global Head of Marketing Personal Health: Claudia Calori.

Creative Agency: LePub, Amsterdam.
Visuals: TOILETPAPER, Maurizio Cattelan (Artistic Director) and Pierpaolo Ferrari (Photographer).
Production Companies: Ambassadors Amsterdam and Shotz Berlin.
Post Production Company: Lens That (AR Creative Studio), Warsaw.
Media Agency: OMD Amsterdam.
PR Agency: Ketchum Amsterdam.
Tech Support: LeGarage, LePub's tech and innovation hub.

KVI Brave Fund - Voice 2 Diabetes (case study)

LLLLITL 2024-06-20 | "Voice 2 Diabetes" centers on a groundbreaking study from Klick Labs that combines voice technology with artificial intelligence to revolutionize diabetes detection. The study, published in 'Mayo Clinic Proceedings: Digital Health', reveals that determining whether a person has Type 2 diabetes could be as easy as having them speak a few sentences into their smartphone.

Klick Labs scientists used six to ten seconds of a person's voice, along with basic health data such as age, sex, height, and weight, to create an AI model with an accuracy of 89 percent for women and 86 percent for men. The study involved 267 participants, both non-diabetic and Type 2 diabetic, who recorded a phrase into their smartphones six times daily for two weeks. From over 18,000 recordings, researchers analyzed 14 acoustic features to identify differences between non-diabetic and Type 2 diabetic individuals.

The research highlights significant vocal variations between individuals with and without Type 2 diabetes. Jaycee Kaufman, the first author of the paper and research scientist at Klick Labs, emphasized that current detection methods require substantial time, travel, and cost, whereas voice technology has the potential to eliminate these barriers entirely. The team at Klick Labs used signal processing to detect changes in pitch and intensity in the voice caused by Type 2 diabetes, which manifested differently for males and females.

The International Diabetes Federation reports that nearly half of the 240 million adults living with diabetes worldwide are unaware they have the condition, and almost 90 percent of diabetic cases are Type 2 diabetes. Current diagnostic tests require visits to healthcare providers, which can be a significant barrier for many. Yan Fossat, vice president of Klick Labs and principal investigator of the study, stated that Klick’s non-intrusive and accessible approach offers the potential to screen vast numbers of people and help identify the large percentage of undiagnosed individuals with Type 2 diabetes.

Fossat underscored the potential of voice technology to revolutionize healthcare practices as an accessible and affordable digital screening tool. The next steps include replicating the study and expanding research into using voice as a diagnostic tool for other conditions such as prediabetes, women's health, and hypertension.

Enabled by over a decade of expertise and investment in machine learning, data science, and artificial intelligence, Klick Labs has made significant strides in various therapeutic areas, including diabetes. Their previous studies have also focused on mathematical modeling to understand glucose regulation, with recent research published in Mayo Clinic Proceedings: Digital Health. The "Voice 2 Diabetes" campaign showcases Klick Labs' commitment to innovation in healthcare, aiming to make diabetes screening more accessible and efficient.

AWARDS
Cannes Lions 2024
- Innovation Grand Prix
- Gold in pharma

CREDITS
Brand: KVI Brave Fund Inc.
Creative Agency: Klick Health, Toronto.
Chief Creative Officer: Rich Levy.
Executive Creative Directors: Bernardo Romero, Tim Jones.
Group Creative Directors: Amy Fortunato, Andrea Bistany.
Vice President: Yan Fossat.
Vice President: Sheryl Steinberg.
Communications Director: Marisa McWilliams.
Communications Manager: Amanda Ferguson.
Producer: Holly Phipps.

Loewe x Suna Fujita (case study)

LLLLITL 2024-06-20 | Bringing a whimsical magic to the festive season, the SS24 pre-collection featured a collaboration with Kyoto-based ceramic studio Suna Fujita, founded by artists Shohei Fujita and Chisato Yamano. Suna Fujita's artwork drew on imagination, childhood memories, and life with their son and pet dog to create hand-painted stories on ceramics such as teapots, cups, and plates.

A menagerie of pandas, penguins, lemurs, otters, mandragora roots, and their human friends were transported from the duo’s ceramic pieces to artisan-crafted bags, ready-to-wear, and accessories. Bags including the Hammock, Puzzle, Flamenco, and new LOEWE Font tote were embellished with Suna Fujita's unique characters—they clambered across sumptuous leather, scaled straps, and peeked out from linings.

LOEWE donated part of the proceeds from every LOEWE x Suna Fujita purchase to Save the Children's Education in Emergencies program, which works to guarantee safe learning environments for children in humanitarian crisis situations around the world.

AWARDS
Cannes Lions 2024
- Luxury & Lifestyle Grand Prix

CREDITS
Brand: Loewe, Madrid (Spain).
Ceramic Studio: Suna Fujita, Kyoto (Japan).
Artists: Shohei Fujita and Chisato Yamano.
Production Companies: Andrea Animates (Port Townsend) and Output (Shanghai).
Post Production Company: Andrea Animates (Port Townsend).
Director and Animator: Andrea Love.
Media Agencies: Assembly (London), Loewe (Madrid), Ocean Outdoor (London), Screenbase (Paris), and Zhongxi Media (Xianggangdao).

Pop-Tarts - The First Edible Mascot (case study)

LLLLITL 2024-06-20 | Pop-Tarts has a history of putting a Crazy Good spin on classic flavors, and the brand wanted to bring that approach to college football in the first-ever Pop-Tarts Bowl. The winning team dumped Pop-Tarts all over their coach at the 2023 Pop-Tarts Bowl. Pop-Tarts is a beloved brand that consumers see as a breakfast staple, but we were tasked with putting the brand at the center of a broader snacking conversation.

By bringing all the “ingredients” that make the brand iconic into the college football world, we put food and flavor at the center of the entire Pop-Tarts Bowl experience, highlighting the brand’s place at the table well beyond morning hours. For sixty years, Pop-Tarts has sacrificed everything for flavor. So why would our mascot be any different? Knowing mascots are the ultimate symbol of team spirit, we wanted to go above and beyond to wow the crowd. Thus, the first-ever edible mascot was born… then eaten.

This became the single-biggest Pop-Tarts earned campaign ever. Seven times as many people searched for the brand on game day versus the annual average, driving the brand’s biggest day in nearly a decade. The campaign garnered over 4 billion impressions, acquired $1 million worth of first-party data, and generated 15 times more brand mentions than the ten other non-Kellanova-sponsored bowl games combined. Fans created an overwhelming amount of memes, social responses, videos, and GIFs. Our edible mascot was at the center of it all, with over 80% of the game-related coverage, and the New York Times declared that the Pop-Tarts Bowl “won the internet.”

AWARDS
Cannes Lions 2024
- Brand Experience & Activation Grand Prix

CREDITS
Brand: Pop-Tarts (Kellanova), Chicago.
Creative Agency: Weber Shandwick, New York.
Public Relations Agency: Weber Shandwick, New York.
Production Companies: Chicago Mascots (Chicago) and Independent Graphics And Display (St. Louis).

DEGIRO and UN Women - Pink Chip (case study)

LLLLITL 2024-06-19 | Invest in proof, not bias. Pink Chip is changing the business world with data on women leadership. The business landscape is changing as women break barriers, showcasing our abilities and skills. It’s time to recognize and celebrate our success as we redefine industry standards.

Insight
Research shows that companies with female leaders tend to be more profitable and have better stock price performance. Despite this, just 6 per cent of CEOs of publicly listed companies around the world are women. Data shows that when some companies appoint a female CEO, their share price drops by 2 to 3 per cent – placing female leaders at a disadvantage before their tenure has even begun.

Idea
A new financial tool that proves the power of women. Pink Chip is a collection of indices that tracks the performance of exceptional women-led businesses in markets around the world. Pink Chip is created and designed by AKQA in partnership with Thematic, DEGIRO and UN Women NL. It is the first index to align with the UN’s Sustainable Development Goal 5, and the first to launch in collaboration with UN Women. The first of its kind, Pink Chip allows investors to see for themselves how investing in women is better for their bottom line, boosting their returns while also supporting female leaders. It is freely available on pinkchip.org, and on the DEGIRO app.

Impact
Invest in women, accelerate progress. On International Women’s Day Pink Chip joined UN Women NL at the opening of the stock market at Euronext in celebration of the year’s theme #InvestInWomenAccelerateProgress and went live on Europe’s largest investing platform DEGIRO. Within two weeks of its launch there were over 14,500 new investors in Pink Chip companies which saw a 6.7% increase in their stock price. The index has since climbed a further 9.48% and outperformed market benchmarks. Pink Chip has reached over 2 million impressions across social media and outdoor placements and attracted nearly 70,000 visitors to pinkchip.org within its first week.

"UN Women applauds the Pink Chip initiative, which will lead to more awareness among investors of the true potential of women and spur investments in women-led companies." Marije Cornelissen, Executive Director and Founder, UN Women NL

AWARDS
Cannes Lions 2024
- Shortlisted in the Dan Wieden Titanium Lions category
- Gold in Creative Strategy
- Gold in Glass 'The Lion for Change'
- Gold in Sustainable Development Goals
- Silver in Direct
- Silver in Innovation

CREDITS
Brands: DEGIRO and United Nations Women.
Creative Agency: AKQA, Amsterdam.
Production Company: Amp Amsterdam.
Country: Netherlands, United States.
Art Director: Sam Rowlands.
Associate Creative Director: Grace O'Brien.
CEO & Founder: Steven Carpenter.
Designer: Dianne van der Hoeven, Emma Nikolovski.
Group Creative Director: Evan Dunn.
Intern: Giulia Ballerio, Leticia Diaz, Philip Gebben, Priya Venkat.
Senior Copywriter: Conor Cunniffe.
Senior Front-End Developer: Viktor Jensen-Torp.
Senior Motion Designer: Guilherme Romeiro.
Software Engineer: Joe Kromer, Jon Opray, Kevin Sun.
Account Manager: Berber Visser.
Associate Strategy Director: Christiana Courtright.
Chief Production Officer: Brian Wey.
Client Managing Director: Christopher Henderson.
Client Services Director: Hannah Glazebrook.
Founder: Sam Rowlands.
Strategy Associate: Cherisse Dsouza.

Siemens Healthineers - Magnetic Stories (case study)

LLLLITL 2024-06-19 | Imagine the daunting roar of an MRI machine, reaching decibel levels louder than a military jet. Now, consider the impact on a child undergoing cancer treatment. Siemens Healthineers introduces "Magnetic Stories", an innovative technology transforming terrifying MRI sounds into enchanting children's audio books.

This pioneering campaign seeks to replace anxiety with awe and fear with fascination, ensuring young patients experience a journey of magic and wonder during medical procedures. By harnessing the power of storytelling, Siemens Healthineers aims to redefine healthcare experiences, making them not just tolerable, but inspiring for every child in need.

AWARDS
Cannes Lions 2024
- Pharma Grand Prix
- Gold in Creative Data
- Silver in Pharma
- Bronze in Audio & Radio
- Bronze in Brand Experience & Activation
- Bronze in Creative B2B

CREDITS
Brand: Siemens Healthineers, USA.
Creative Agency: AREA 23 (an IPG Health network company), New York.
Production Companies: BRO Lisbon, SONIDO Lisbon, and Tempest Originals Custom Carpentry Brooklyn.
Post Production Company: Ars Thanea Warsaw.
Publishing House: Grupo Leya Lisbon.
Music & Sound: Sonido.

AREA 23
Chief Creative Officer: Tim Hawkey.
SVP Creative Director: Viton Araújo.
VP Creative Director: Diego Torgo.
VP Creative Director, Copywriter: Victor Afonso.
SVP Group Production Director: Chinkara Singh.
SVP Creative Director: Guillermo Aracena.

FCB
Global Creative Partner: Danilo Boer.

FCB Chicago
Executive Creative Director: Eduardo Tavares.

Hill Holliday Health
VP Executive Producer: Philip Schneider.

Bro Cinema
Founder, Director: Mário Patrocínio.
Executive Producer: João Cruz.
Line Producer: Mariana Cucchiarelli.
Director of Photography: Tomás Paiva Raposo.
Production Manager: Nuno Mendes.
Production Manager: Marta Araújo.
Production Assistant: Eneida Neves.
Sound Operator: Miguel Souza.
Sound Operator: Victor Ribeiro.
Makeup Artist: Lexie Wolfs.
Editor: Ricardo Damásio.
Post Coordinator: Jimmy Egreja.
Post Supervisor: Sadik Jamal.
Grading: Daniel Laranja.
VFX: Ricardo Viana.

Ars Thanea
Founder Partner & CCO: Peter Jaworowski.

Sonido
Project Manager: Váva Mayrink.
Project Manager: Lara Borges.
Founder, Music Director: Lucas Duque.
Producer: Manuel Pinto.

Guel
Sound Edit e Mix: André Almeida Guel.

Mercado Libre - Handshake Hunt (case study)

LLLLITL 2024-06-19 | Mercado Libre, a leading electronic commerce platform in Latin America, executed a unique campaign named "Handshake Hunt" during Black Friday. Partnering with the TV channel Globo, the campaign displayed QR codes for discounts whenever a handshake appeared on-screen. This innovative strategy aimed to increase transactions in Brazil. Targeting the online retail market in Brazil, the campaign utilized various media channels including product placement, outdoor, out-of-home, and sales promotions.

In 2023, Mercado Libre's Black Friday campaign achieved unprecedented success. The company saw a remarkable 39% year-over-year increase in overall sales during the period, and an extraordinary 80% year-over-year boost specifically on Black Friday itself. This impressive performance stands out even more considering the challenging market conditions in Brazil, where many competitors struggled.

AWARDS
Cannes Lions 2024
- Media Grand Prix
- Silver in Brand Experience & Activation
- Silver in Creative Commerce
- Silver and Bronze in Media

CREDITS
Brand: Mercado Libre, Brazil.
Chief Marketing Officer: Sean Summers.
Head of Branding: Iuri Maia.
Branding Manager: Stephanie Romeiro.
Branding Specialist: Laryssa Monteiro.

Creative Agency: GUT, São Paulo.
Founder & Creative Chairman: Anselmo Ramos.
Founder & Creative Chairman: Gaston Bigio.
Global CEO: Andrea Diquez.
Managing Director: Valeria Barone.
Chief Creative Officer: Bruno Brux.
Executive Creative Director: Murilo Melo, Tiago Abreu.
Creative Directors: Rapha Borges, Rafael de Miranda.
Associate Creative Directors: Mellina Fontoura, Paula Keller Perego.
Creatives: Erick Wilmer, Felipe Farah, Ana Paula Silva, André Hernandez, João Guilherme Nunes.
Head of Account: Alessandra Visintainer.
Regional Account Director: Natalia Noya.
Account Director: Raphaela Guillen.
Account Manager: Giovanna Falvino.
Account Supervisor: Mateus Carvalho, Mayara Valadares.

Production Companies: Cine Cinematografica, Mugshot, Pedro Dimitrow, Raiz Estudio, Yellow Mello.
Media Agency: GUT, Sao Paulo.

Frankfurter Allgemeine Zeitung - The 100th Edition (case study)

LLLLITL 2024-06-18 | On Holocaust Remembrance Day, January 27, 2024, the Frankfurter Allgemeine Zeitung (F.A.Z.) unveiled the 100th anniversary motif of their esteemed "Brilliant Minds" campaign, captured by renowned director Wim Wenders. The powerful image features Holocaust survivor Margot Friedländer, now 102, seated amidst the more than 2,700 concrete steles of the Memorial to the Murdered Jews of Europe. With the F.A.Z. newspaper in hand, Friedländer’s portrait is a poignant reminder of the importance of vigilance, historical awareness, and resistance against the rise of intolerance.

For over 25 years, the F.A.Z. has celebrated influential figures through its iconic photo series, "There's always a brilliant mind behind it." This campaign features distinguished individuals engrossed in reading the newspaper, set against backdrops that symbolize their contributions to society. The series honors those who drive the global political, economic, social, and cultural dialogues, showcasing their intellect and influence.

Margot Friedländer’s participation in the campaign underscores her relentless dedication to Holocaust remembrance and education. The F.A.Z. seeks not only to highlight her extraordinary story but also to inspire readers to remain informed and proactive in the face of historical and contemporary challenges. Through this evocative portrayal, the newspaper reiterates its commitment to supporting those who champion critical causes and intellectual rigor.

The "Brilliant Minds" campaign continues to be a testament to the power of thoughtful engagement and the enduring impact of prominent thinkers and leaders. By spotlighting figures like Margot Friedländer, the F.A.Z. reinforces the significance of remembering the past to inform a more just and enlightened future.

AWARDS
Cannes Lions 2024
- Industry Craft Grand Prix
- Silver in Design
- Silver in Industry Craft
- Bronze in Print & Publishing

CREDITS
Brand: Frankfurter Allgemeine Zeitung.
Creative Agency: Scholz & Friends, Berlin.
Production Company: Scholz & Friends, Berlin.
Post Production Company: Scholz & Friends, Berlin.
PR Agency: Scholz & Friends, Berlin.

Spotify - Spreadbeats (case study)

LLLLITL 2024-06-18 | Spotify has launched a new B2B campaign, ‘Spreadbeats,’ featuring a music video created and distributed entirely within a media plan spreadsheet. Aiming to make media plans as vibrant and energetic as Spotify’s brand and platform, the campaign follows a single cell—E7—and its evolution into a colorful 3D character. This transformation acts as a metaphor for the creative ways brands can reach audiences through both audio and visual formats.

“The media plan is the unsung workhorse of our industry, and it’s not necessarily the first thing you’d think of to tell a story creatively,” said Rich Frankel, global creative director at Spotify. “Through Spreadbeats, we are using the analytical tools of our trade to deliver a memorable experience. We hope to inspire our brand and agency partners to never look at a media plan from Spotify the same way again.”

Adrian Bingham, Head of Sales, AUNZ, added, “We know how important media plans are to our industry and that they are generally the unsung heroes of our campaigns. With Spreadbeats, we wanted to inject some of the creativity and energy the Spotify brand is known for, to create something unique for the industry.”

The campaign is backed by a soundtrack produced by US DJ John Summit. “I know my way around a spreadsheet almost as well as a DJ mixer,” Summit said. “My first ever job was in accounting, where I got really good at using spreadsheets and I think there can be creativity in every job. That’s why I was so excited to partner with Spotify on this project and to use my track, ‘Shiver,’ to convey emotion where people might not typically feel it.”

Rather than inserting a pre-made video into the spreadsheet, Spotify coded the music video directly within the spreadsheet, using built-in functions such as ASCII, Graphs, Unicode, and conditional formatting. The project was created in partnership with Uncharted and FCB NY.

After weeks of testing across 14 markets—including the US, Canada, UK, Germany, Italy, Spain, France, Brazil, Mexico, Australia, India, and Singapore—Spreadbeats dropped directly into unsuspecting brand and agency inboxes, inviting recipients into a world they may not want to leave.

AWARDS
Cannes Lions 2024
- Digital Craft Grand Prix
- Gold and Bronze in Digital Craft
- Gold in Direct
- Silver and Bronze in Creative B2B
- Silver in Entertainment Lions for Music
- Bronze in Creative Data
- Shortlisted in the Dan Wieden Titanium Lions category

CREDITS
Brand: Spotify.
Global Creative Director: Rich Frankel.
Head of Sales, AUNZ: Adrian Bingham.

Creative Agency: FCB, New York.
Production Company: Uncharted Limbo Collective, London.
Post Production Company: Colossal, Curitiba.
Other: Bogota Curitiba ; DaHouse Audio Los Angeles ; Spotify New York.

Hornbach - The Square Meter (HD film)

LLLLITL 2024-06-18 | Hornbach has unveiled a mesmerizing exploration into the world of confined spaces, where every aspect of life unfolds within a single square meter. This visionary concept, brought to life by HeimatTBWA, challenges viewers to imagine an entire existence within such tight confines—a compelling narrative that resonates deeply amid today's pervasive housing challenges.

"Every square meter deserves to be the best in the world."

In the gripping 60-second film, we witness the protagonist navigate a labyrinthine microcosm of creativity and resourcefulness. From waking in a compact domain to crafting pottery under a slanted roof, each scene unfolds like a surreal odyssey through a miniature wonderland. The ad, a response to the escalating cost-of-living crisis, celebrates the boundless potential that a mere square meter can encompass—an endless space for innovation and expression.

Hornbach's distinctive grit and Heimat's nuanced storytelling converge seamlessly, embodying a DIY ethos that embraces imperfection and spontaneity. This isn't the realm of pristine Scandinavian designs; instead, Hornbach cultivates a raw, organic aesthetic—rooted, untamed, and wonderfully imperfect. According to Thomas Schnaitmann, Hornbach's head of international brand, the aim is to inspire individuals to reimagine and transform their living spaces, especially in regions where affordable housing is increasingly scarce.

Director Steve Rogers and set designer Steven Jones-Evans bring this vision to life with meticulous craftsmanship, creating a tactile and immersive world entirely by hand. The result is a visual feast where each scene unfolds like a rich tapestry of lived experiences, inviting viewers to explore layers of creativity and ingenuity within confined spaces.

Beyond the film, Hornbach's campaign extends to a multi-faceted artistic endeavor across Europe. Actual square-meter artworks from eight countries are showcased, each bearing evocative names like "The Square Farm" and "BBQ Tower," offering further narratives of innovation and inspiration. Supported by a robust rollout including out-of-home, radio, and digital promotions, the campaign underscores Hornbach's commitment to celebrating the limitless potential found within every square meter—a poignant message in today's world of spatial constraints and creative resilience.

AWARDS
Cannes Lions 2024
- Film Craft Grand Prix
- 2 Gold and 1 Silver in Film Craft

CREDITS
Creative Agency: HeimatTBWA, Berlin.
Media Agency: Mediaplus.
Film Production: TPF Berlin.
Producers: Michael Duttenhöfer, Florian von der Heydt.
Director: Steve Rogers.
Music Composition: Benjamin Woodgates, LELAND Music, London.
Music Supervision: Ed Bailie, LELAND Music, London.
Sound Design: David Arnold, LOFT Berlin.

WhatsApp - We Are Ayenda (case study)

LLLLITL 2024-06-18 | WhatsApp, the leading global private messaging service, and The Lab, the creative incubator within the award-winning production company Anonymous Content, announced the release of their new documentary, "We Are Ayenda." This film tells the extraordinary story of the Afghan Youth Women's National Football Team and their remarkable escape from Afghanistan after the Taliban took power in 2021. The documentary debuted during the Women’s World Cup and is now available on Prime Video.

The half-hour film, adapted and produced by The Lab and directed by award-winning documentary filmmaker Amber Fares, showcases the bravery of these young women and their determination to continue playing the sport they love. The documentary aims to raise awareness of the challenges people face when forced to migrate and highlights the power of sport to unite people. It reveals the profound relationship between Farkhunda Muhtaj, the former captain of Afghanistan’s women’s national football team and a humanitarian activist, and the members of the women’s youth team.

Despite never having met in person, Farkhunda led the young women to safety through WhatsApp texts and voice messages, which are woven throughout the documentary to retell their story. “These incredible young women just want to continue competing in football and aspire to achieve their dreams,” said Farkhunda Muhtaj. “To help them escape successfully, I knew the stakes were extremely high for secure communication. If something was intercepted, whether it be their passports or IDs, not only would the mission be jeopardized but everyone's life would be at risk.”

“From the moment we first shared this story with the WhatsApp team, we were all in awe of the girls and Farkhunda,” said Zac Ryder, Executive Producer at The Lab. “Everyone was on the same page that our number one job was to honor them and their families, which meant telling the story as authentically as possible. It takes a very brave client to sign up for something like that. We’re so fortunate to be working with such thoughtful, committed partners.” Vivian Odior, Global Head of Marketing at WhatsApp, added, “We are honored to support these brave women who are an inspiration to everyone pursuing their dreams.” The film captures the sheer determination and unwavering spirit of these young athletes, offering a unique perspective into their lives.

Since the Taliban took control of Afghanistan, women and girls have been denied their human rights, including the right to go to school, work, and play sports. According to UN estimates, eight million Afghans have been displaced from their homes due to violence, including millions of refugees now living abroad.

AWARDS
Cannes Lions 2024
- Entertainment Grand Prix
- Gold in Entertainment
- Gold in Entertainment Lions for Sport
- Silver in Film
- Bronze in Outdoor

CREDITS
Brand: WhatsApp, Palo Alto.
Global Head of Marketing: Vivian Odior.
Idea Creation: Creative X Palo Alto, Modern Arts Los Angeles and The Lab (the creative incubator within the award-winning production company Anonymous Content).
Production Company: Even Odd San Francisco.

Johnnie Walker - Errata at 88 (case study)

LLLLITL 2024-06-18 | On October 8th, Carnegie Hall hosted a remarkable tribute show honoring a pivotal 1962 concert that helped introduce bossa nova to the global stage. This historic event had featured legendary Brazilian musicians such as Tom Jobim, João Gilberto, Sérgio Mendes, and Carlos Lyra, but notably absent was Alaíde Costa. At nearly 88 years old, Alaíde, revered as one of the 'founding mothers' of bossa nova, finally graced this iconic stage. Accompanied by artists like Seu Jorge, Daniel Jobim, Roberto Menescal, and Carlinhos Brown, she performed in "Bossa Nova: The Greatest Night."

Alaíde had expressed her excitement about this opportunity beforehand: "I’m overjoyed to be able to take part in this celebration of bossa nova, this concert in New York, at Carnegie Hall, at Johnnie Walker’s invitation. It’s wonderful to finally be able to sing on the stage that showed our music to the world in the 1960s. Now it’s time to show Alaíde Costa!" This performance not only honored her contributions to bossa nova but also marked a significant moment in her illustrious career.

Johnnie Walker's campaign, which lent fresh meaning to the famous slogan 'Keep Walking,' was launched across multiple media platforms. One of the central elements of the campaign was a series of initiatives supported by the brand designed to highlight and honor figures who took steps throughout their lives that affected the culture and the world around them. Alaíde Costa’s story was the first to be highlighted. With creative direction by AlmapBBDO, the project unfolded in two stages. The first stage involved a 70-year 'Errata' published in Folha de S. Paulo, recounting her career and recognizing her global cultural relevance. The second stage culminated in Alaíde’s performance at Carnegie Hall.

In addition to paying tribute to a bossa nova legend who had not received due recognition throughout her career, the campaign reinforced the brand’s commitment to inspiring their public to take impactful steps in society and culture. “With a seventy-year career of constant dedication to music, Alaíde is one of the best examples that we could possibly think of,” said Eric Strauss, the director of Scotch for Diageo in Brazil. Alaíde was recording the second album in a trilogy produced by Emicida, Pupillo (Nação Zumbi), and Marcus Preto, having released singles like 'Moço' and 'Ata-me,' while also touring across Brazil with various concert formats.

AWARDS
Cannes Lions 2024
- Entertainment For Music Grand Prix

CREDITS
Brand: Johnnie Walker (Diageo).
Creative Agency: Almap BBDO, Sao Paulo.
Chief Executive Officers: Filipe Bartholomeu, Luiz Sanches, Pernil.
Executive Creative Directors: Fernando Duarte, Henrique Del Lama, Pedro Corbett.
Creatives: Alexandre Freire, Alisson Machado, Beatriz Fiori, Isac Neto, Matheus Loretti, Yasmin Oliveira.
Head of Art & Craft: Eduardo Vares.
Project Managers: Carol dos Anjos, Julia Newman.
Content Producers: Marcela Ramos, Mariana Queiroz Silva.
Planners: Joao Gabriel Fernandes, Maria Claudia Gouveia Conde, Erika Moulin de Souza Pires, Flávia Fernandes Antoniolli, Beatriz dos Santos.
Media Managers: Mariana de Souza Areia, Daniele Dechiqui de Abreu, Amanda Chaklian de Freitas, Amanda de Oliveira Santana, Mariana Costa, Bianca Camargo Renzo.
Art Buyers: Tereza Setti, Stephanie Biekarck.
Photographers: Mariana Valverde.
Retouching: Sérgio Facundini.

Production Company: Almap BBDO, Sao Paulo.
Producers: Diego Villas Bôas, Vera Jacinto, Murillo Moretti.
Executive Producers: Diego Villas Bôas.
Directors: Rodrigo Resende, Diego Villas Bôas.
Directors of Photography: Rodrigo Resende, Julio Deckes, Mariana Valverde.

Music & Sound Company: Cabaret, Sao Paulo.
Post Production and VFX: Rodrigo Resende.

PR Agencies: Almap BBDO, Giusti Comunicação and Inside Out PR.

Sol Cement - SightWalks (case study)

LLLLITL 2024-06-18 | Cemento Sol, a renowned cement company, has introduced an innovative series of cement tiles called "Sidewalks to See" or "SightWalks." These tiles feature numbered lines designed to assist visually impaired individuals in identifying various types of businesses or establishments they pass by. By counting the lines from left to right with their walking sticks, they can determine whether the adjacent shop is a bank, grocery store, accommodation, hospital, bus stop, drugstore, and more. This thoughtful design aims to enhance the independence and mobility of visually impaired pedestrians.

The implementation of SightWalks has already begun in the Miraflores district of Lima, Peru. Cemento Sol collaborated closely with visually impaired associations across Peru to validate and test the tiles, ensuring they meet the needs of their users. This collaboration has resulted in a practical and effective solution that empowers visually impaired individuals to navigate their environment without the need for assistance.

Cemento Sol partnered with the creative agency Circus Grey Peru to develop a commercial showcasing the functionality of these tiles. The commercial illustrates how the horizontal lines indicate the type of establishment, while vertical lines above and below provide directional information. This clear and intuitive system helps visually impaired individuals understand both the nature and location of nearby businesses.

Importantly, Cemento Sol has made these tiles copyright-free, allowing any city, organization, or individual to replicate and implement them. This open approach is intended to spread the benefits of this innovation widely, making urban navigation more accessible for the visually impaired around the world. By offering this solution freely, Cemento Sol hopes to inspire broader adoption and improve the quality of life for visually impaired individuals everywhere.

AWARDS
Cannes Lions 2024
- Design Grand Prix
- Gold and Silver in Outdoor
- Gold in Brand Experience & Activation
- Gold in Media
- Gold in Sustainable Development Goals
- Silver in Direct
- Bronze in Design

CREDITS
Brand: Cemento Sol (UNACEM), Peru.
Commercial Manager: Gabriel Barrio.
Marketing Manager: Claudia Rivero.
Marketing Director: Maria José Arredondo.
Marketing Coordinator: Camila Acuña.
Trade Marketing: Fátima Armacanqui.

Creative Agency: Circus Grey Lima, Peru.
Global Chief Creative Officer: Gabriel Schmitt.
Presidente & CCO Grey Latam: Diego Medvedocky.
Global Head of Creative Excellence: Maru Sokolowski..
Chief Reputation Officer Grey Latam: Florencia Kessler
Creative Chairman & CEO: José Rivera y Piérola.
Chief Creative Officer (CCO): Charlie Tolmos, Piero Oliveri.
Executive Creative Director (ECD): Gonzalo Aste.
Creative Directors: Percy Rocha, Miguel Ucañán.
Head of Content: Rodrigo Castro.
Account Director: Vanessa Ortega.
Account Supervisor: Lizet Gonzales, Vanessa Graham.
Account Executive: Lorena Gómez, Yessica Ordoñez.
Head of Production: Vanessa Gómez.
Production Director: Kathy Santillana.

Production Companies: Canica Films, PuntoAparte and Rebeca, Lima.
Post Production Company: Nativo Post, Lima.
Media Agency: Apoyo Communicacion, Lima.
PR Agency: LLYC, Lima.

Experience Agency: Dinamo, Lima.
Chief Executive Officer: Sandra Goicochea.
Account Supervisor: Cynthia Salcedo.
Account Executive: Mariana Castro.
Architectural and Designer Consultant: Luis Torres.

Production Company: Rebeca, Lima.
Director: Mario Angulo.
Assistant Director: Ducelia Woll.
Executive Producer: Alejandro Noriega.
Production Supervisor: Eduardo Guerra / Pierina Ravizza.
Production Assistant: Gianella Bellido / Camila García.
Director of Photography (Training Sessions): Didac Saez.

Production Company: Punto Aparte, Lima.
Camera 1: Mario Bertocchi.
Camera 2: Alonso Gutiérrez.
Executive Producer: Lucho Vargas.
Production Assistant: Ana Pau Quintana.
Editor & Post Producer: José Pacheco.
3D: MIDAS ART David Vega.

Audio Company: Agosto Music & Sound Craft.
Music Director: Claudia Incio.

Pedigree - Adoptable (case study)

LLLLITL 2024-06-17 | Pedigree has unveiled 'Adoptable', an innovative AI-driven initiative developed with Colenso BBDO and Nexus Studios, revolutionizing how shelter dogs feature in global advertising. This groundbreaking technology transforms basic shelter dog photos into high-quality studio images, seamlessly integrating them into any Pedigree digital ad. This move not only promotes Pedigree products but also shines a spotlight on adoptable dogs, amplifying efforts to tackle dog homelessness worldwide.

With an estimated 12 million dogs in shelters globally, Pedigree’s longstanding commitment to adoption gains unprecedented scale through Adoptable. The AI model ensures each dog’s photo is digitally rendered for versatility across various media formats, from CGI rigs to real-time adjustments based on adoption status. Once a featured dog finds a home, it is swiftly removed from advertising circulation, reinforcing Pedigree’s impact in driving adoption rates.

Simon Vicars, Chief Creative Officer at Colenso BBDO, underscores the initiative’s transformative potential within commercial realities, merging sales objectives with social responsibility. Adoptable not only addresses the visibility of shelter dogs but also enhances adoption prospects by leveraging geo-targeting and First-Party Data to match dogs with suitable households.

Since its launch in New Zealand, Adoptable has achieved remarkable adoption rates, with 50% of featured shelter dogs finding homes within the first two weeks. This success highlights the campaign’s effectiveness in driving traffic to shelter profiles and increasing adoption likelihood among potential pet parents. As Adoptable prepares for global rollout, Pedigree remains committed to leveraging every advertising dollar to support dogs in need of loving homes worldwide.

AWARDS
Cannes Lions 2024
- Outdoor Grand Prix
- Gold and Bronze in Direct
- Silver in Creative Business Transformation

CREDITS
Client: Pedigree (Mars).
Creative Agency: Colenso BBDO Auckland, New Zealand.
Chief Creative Officer: Simon Vicars.
Production Company: Nexus Studios.
Media Agencies: Essence Mediacom and Hyper Media.

Magnum - Find Your Summer (case study)

LLLLITL 2024-06-17 | "Find Your Summer" encourages everyone to seek out those small, narrow, and fleeting moments of sunshine amid the harsh winter and relish them while enjoying a Magnum. "Freezing. Wintry. Gelid. It's 3:14 pm in the city when, suddenly, a shimmer of warmth light emerges just when needed… It's time to find your summer with Magnum."

In the midst of the past winter, when memories of sweltering summer days felt like a distant dream, Magnum embarked on a mission to redefine seasonal boundaries. Created by LOLA MullenLowe, their latest campaign, ‘Find Your Summer,’ aimed to inspire audiences to savor the pleasures of Magnum ice cream year-round.

The campaign tapped into the insight that many people deny themselves the joy of ice cream during colder months. It celebrated those who defy conventional wisdom, seeking moments of summer amidst winter’s chill. The hero film, set against a backdrop of a frosty cityscape, followed individuals discovering their own pockets of warmth and joy—a sunlit window, a soothing bath evoking tropical waters—each scene a testament to the enduring allure of summer.

Directed by Juan Cabral of MJZ Films, the film captured these fleeting moments in a poignant black-and-white narrative. Its soundtrack, mellow and evocative, underscored the campaign’s message of embracing pleasure and relaxation throughout the year. Ale Burset’s print and outdoor visuals further reinforced Magnum’s role as a symbol of indulgence and escapism, ensuring the campaign resonated across various media platforms.

‘Find Your Summer’ wasn’t just about ice cream; it was a call to seize happiness wherever and whenever it beckons. By challenging the norm and celebrating the timeless allure of Magnum, LOLA MullenLowe’s campaign invited everyone to rediscover their own personal slice of summer, transcending seasons and spreading a message of joy and warmth long after winter had faded.

"Anchored in the brand's pleasure territory, the campaign aims to evoke the feeling of that ray of sunshine on long winter days, gently caressing you, mentally transporting you back to summer and awakening the desire to eat ice cream in that moment" said Tomas Ostiglia, Executive Creative Director at LOLA Mullenlowe.

AWARDS
Cannes Lions 2024
- Outdoor Grand Prix
- Gold and Bronze in Outdoor
- Gold in Print & Publishing
- Silver in Film Craft
- Bronze in Film
- Bronze in Industry Craft

7x The One Show (1 Gold, 1 Silver, 1 Bronze & 4 Merits)
5x El Sol Festival (2 Gold, 1 Silver & 2 Bronze)
6x Clio's (2 Gold, 3 Silver & 1 Bronze)
2x D&AD (2 Wood Pencils)

CREDITS
Brand: Magnum (Unilever), Spain.
Global Ice Cream Chief Marketing Officer: Julien Barraux.
Global Vice President, Magnum: Benjamin Curtis.
Global Sr. Marketing Manager: Tugce Aksoy.
Global Digital Lead: Sara Paixao.
Global Magnum Ice Cream NOW & New Media: Willem van Isselmuden.
UK Marketing Manager: Lennon-Smith, Shannon.
TK Marketing Manager: Serkan Oguz.
TK Assistant Brand Manager: Alara Egrioglu.

Creative Agency: LOLA MullenLowe, Madrid.
Executive Creative Director: Tomas Ostiglia.
Creative Directors: Jorge Zacher, Kevin Cabuli, Dante Zamboni.
Creative team: Augusto Callegari, Pedro Mezzini.
Design Director: Yan Graller.
Art Director/Designer: Alan Chung.
Managing Director: Tom Elliston.
Account Director: Catalina Aguirre.
Account Supervisor: Cristina Panea.
Account Executive: Sofía Perez.
Head of Strategic Planning: Camila Facín.
Strategy Manager: Bruno Yanagui.
Head of Production: Felipe Calviño.
Producer: Marina Saro.

Production Company: MJZ.
Director: Juan Cabral.
MD/Executive Producer: Lindsay Turnham.
Head of Production: Lucy Jones.
Producer: Nicolás Abelovich.
1st AD: Federico Scarpelli.
DOP: Javier Juliá.
VFX Supervisor: Juan Pablo Listello.
Wardrobe Stylist: Sol Montalvo.
Production Designer: Charly Carnota.
Make Up Artist: Marisa Wehit.
Home Economist: Toni Krank.
Post Coordinator: Jula Castagnino.
Edit: Emiliano Fardaus.
SFX Coordinator: Nasa FX.
Production Manager: Pat Rzeznik.
Production Coordinator: Federico Falasca.
Production Service Company: Labhouse.
Managing Director: Flora Fernandez Marengo.

Post House/VFX: Glassworks VFX (Barcelona).
VFX Supervisor/CD: Carlos Navarro.
Executive Producer VFX / HoP: Olaia Casal.
Set Supervisor / Compositing Artist: Juan Listello.
Compositing Artist: Gloria Bernabé.
Compositing Artist: Noa Bofill.
Compositing Artist: Roberto García.
Compositing Artist: Albert García.
Colorist: Julia Rosseti.
Sound Designer: Aimar Molero.
Postproducer: Anna Gispert.

Music Company: Big Sync Music.
Music Supervisor: Alicia Leinot.

Media Agency: Mindshare UK.
Planning Business Director: Tess Domenet.
Planning Account Director: Natasha Irwin.
Planning Account Manager: Elle Dockree.
Print Account Director: Nathan Hope.
AV Account Director: Holly Gibson.

Media Partner: Kinetic.
OOH Account Director: Shahin Ejtehadi.
OOH Account Manager: George Peto.

Dramamine - The Last Barf Bag (case study)

LLLLITL 2024-06-17 | To commemorate the 75th anniversary of Dramamine, a well-known medication for nausea relief and motion sickness prevention, the brand launched a unique campaign focused on an item that its product has rendered almost obsolete – the barf bag. This innovative campaign began with a documentary titled "The Last Barf Bag: A Tribute to a Cultural Icon," which premiered on Dramamine’s YouTube channel. The 14-minute educational film delves into the history of the barf bag, which coincidentally was introduced the same year as Dramamine in 1949.

The documentary features insights from doctors, flight attendants, historians, and everyday people, all reflecting on the barf bag's cultural significance. It also highlights stories from dedicated collectors who have gathered thousands of barf bags from various airlines over the years. To complement the film, a pop-up exhibition in New York City displayed hundreds of historic and rare barf bags, showcasing designs that span over five decades. This exhibition was held for one day only on April 3, coinciding with the documentary's online release.

Developed by agency FCB Chicago, the campaign’s final core element aimed to preserve the legacy of barf bags through the 'This is Not a Barf Bag' collection. This collection, available on Dramamine’s online store, features repurposed barf bags with creative designs suggesting alternative uses, such as puppets, chef’s hats, gloves, envelopes, vases, popcorn bags, and coolers. Each redesigned bag is sold for $5, with a $10 option that includes a sample of Dramamine.

Artist Jessie Maxwell Bearden contributed to the campaign by creating the designs for the upcycled barf bags. She also designed a one-of-a-kind puffer jacket made from old barf bag designs, which was initially displayed at the New York exhibition. This unique jacket was later given away to a lucky visitor on Dramamine’s online store on April 17.

AWARDS
Cannes Lions 2024
- Health & Wellness Grand Prix
- Gold and Silver in Brand Experience & Activation
- Silver and Bronze in Health & Wellness
- Silver in Outdoor
- Bronze in Film

CREDITS
Brand: Dramamine (Prestige Consumer Health).
Senior Brand Manager: Erica Nesbitt.
Creative Agencies: FCB Chicago.
Media Agency: The Shipyard.
PR Agency: 360PR+ Boston.
Production Company: Sunny Sixteen Los Angeles.
Post Production & VFX: 456 Studios.
Music & Sound: JSM Music.

LOréal - Worth It Resume (case study)

LLLLITL 2024-06-16 | L’Oréal Paris is more than a beauty brand, it’s a brand that empowers women. That’s why it’s been telling women “You’re worth it” for over 50 years. In the workplace, however, women continue to face significant challenges to their worth.

Systemic biases have long been barriers to their success, and studies have also shown that women still are expected to prove themselves more than men professionally. In fact, 81% of women feel more pressure to not fail than men. L’Oréal wanted to change this mentality and remove the stigma around failure with the “Worth It Resume.”

Aiming to fight back against these standards, the campaign features L’Oréal spokespeople and women business leaders from around the world sharing their “resumes” on LinkedIn. Instead of adding chorus of humble brags that dominate the platform, they opened up about the setbacks that led them to where they are today, encouraging other women to seize big opportunities undeterred by a fear of failure.

L’Oreal spokeswomen including Eva Longoria, Andie MacDowell, Helen Mirren, Jane Fonda, Aja Naomi King and Kate Winslet each shared their own 'Worth It Resume,' highlighting their personal stories of failure. Additional participants included notable female business leaders Reshma Saujani, CEO of Girls Who Code, Michelle Wong, CMO of Sprinkles, and leaders from McCann Worldgroup, including Singleton Beato, Chief Diversity, Equity and Inclusion Officer and Michelle Tang, Global Chief Growth Officer.

Internally, L’Oréal Paris made a huge move as well. When recruiting for new hires, the company now asks every potential candidate to share a past failure that has made them stronger.

Truth Well Told: The campaign added new dimension to L’Oréal’s classic “Because I’m Worth It” by recontextualizing for professionals on an expected platform. Since launch, the “Worth It Resume” campaign has earned 103.3M impressions across LinkedIn and Instagram and 1.12B media impressions.

CREDITS
Brand: L'Oréal Paris, Europe and UK.
President: Delphine Viguier-Hovasse.
L’Oreal spokeswomen: Eva Longoria, Andie MacDowell, Helen Mirren, Jane Fonda, Aja Naomi King and Kate Winslet.
Participants: Reshma Saujani (CEO of Girls Who Code) and Michelle Wong (CMO of Sprinkles).

Creative Agency: McCann Paris.
Business Lead: Charlotte Franceries.
Chief Diversity, Equity and Inclusion Officer: Singleton Beato.
Global Chief Growth Officer: Michelle Tang.

Samsung - Galaxy Time (case study)

LLLLITL 2024-06-14 | 'Galaxy Time' is a groundbreaking watch face for our solar system, created through a collaboration between the European Space Agency (ESA) and Samsung. This innovative watch face not only offers an aesthetically pleasing design but also provides users with a unique and educational experience by displaying the current time on planets like Jupiter and revealing fascinating facts such as the 243 Earth-day length of a day on Venus.

Using real-time data from the ESA, Galaxy Time calculates and displays the exact positions, distances, and times of Mercury, Venus, Mars, Jupiter, Saturn, Uranus, and Neptune. Additionally, it includes terrestrial time, ensuring that users can always stay connected with their home planet while exploring the solar system's intricate details.

Beyond its primary function of telling time, Galaxy Time offers intriguing insights into our solar system. Users can learn about planetary distances from the Sun and Earth, the number of moons each planet has, their exact positions at any given moment, and even their seasonal variations. This feature makes Galaxy Time both a functional and educational tool, perfect for anyone interested in astronomy.

“We want to help people better understand our solar system and its complexity. It is important to look into the future and include the entire solar system beyond our planet,” said ESA scientist Dr. Melanie Heil. She emphasized that the planetary times help users grasp the relative nature of time, broadening their horizons and enriching their everyday lives with a cosmic perspective.

“We basically had to rethink the concept of time and clocks. Because clocks are made for the time on Earth, not for planets where a day lasts less than ten hours or much longer than on our home planet. The complex data were translated into a minimalist design. With the 'Galaxy Time' watch face, we once again show what is possible with data. We are grateful for the collaboration with the scientists at ESA who made the project possible." - Viktor Kislovskij, Senior Creative Technologist at Leo Burnett Germany.

CREDITS
Brands: Samsung (Germany) and European Space Agency (Paris).
ESA Scientist: Dr. Melanie Heil.

Creative Agency: Leo Burnett Germany (Frankfurt)
Senior Creative Technologist: Viktor Kislovskij.

Creative Brand Consultancy: MetaDesign (Berlin).

Gatorade - Turf Finder (case study)

LLLLITL 2024-06-14 | Mumbai, one of the most congested places in India, faces a severe shortage of playgrounds, limiting opportunities for residents to play soccer, cricket, and other sports. Consequently, playing in the streets has become common, despite the risks posed by traffic. Recognizing this issue, Gatorade, in collaboration with Google Maps, developed a solution.

The initiative, known as Gatorade Turf Finder, leverages both historical data and real-time traffic patterns to identify when and where public spaces in Mumbai are empty. This information is used to set up temporary turfs where people can safely engage in sports. By doing so, the program aims to provide safe and accessible playing areas in the city's crowded environment.

Gatorade, PepsiCo India's hydration brand, launched the Turf Finder initiative with Leo Burnett India to promote sports amid the hustle and bustle of metropolitan areas. The program seeks to inspire young individuals to incorporate physical activity into their daily lives by making sports more accessible, even in densely populated urban areas.

Committed to maximizing available space, Gatorade's Turf Finder identifies suitable locations, such as vacant parking lots or empty streets, and transforms them into temporary playing areas. This innovative approach ensures that wherever and whenever space permits, citizens across India's metropolitan cities have the opportunity to play and stay active.

Speaking on the initiative, Ankit Agarwal, Associate Director, Energy and Hydration, PepsiCo India, said, “Gatorade has consistently championed the importance of fitness and an active lifestyle as integral components of well-being. However, in today’s fast-paced and chaotic society, finding both time and a suitable space for physical activity poses a significant challenge. We believe that this initiative will make sport accessible to a lot more people, thereby cultivating a healthier lifestyle.”

“This is a true HumanKind idea where we are using technology to find solutions for modern day problems. Our cities are temporal in nature, they behave differently by day and different by night. We have validated this spirit and used historic Google map data to find empty spaces at specific times which can be made into a turf. The most exciting part is that this campaign can be scaled across the country and not only promote an active lifestyle but also make a cultural impact in communities making sport an equalizer,” Rajdeepak Das, Chief Creative Officer at Publicis Groupe South Asia and Chairman at Leo Burnett South Asia, added.

AWARDS
Cannes Lions 2024
- Gold in Creative Data
- Bronze in Entertainment Lions for Sport

CREDITS
Brand: Gatorade (PepsiCo).
Associate Director, Energy and Hydration: Ankit Agarwal.

Creative Agency: Leo Burnett Mumbai, India.
Chief Creative Officer at Publicis Groupe South Asia and Chairman at Leo Burnett South Asia: Rajdeepak Das.

Production Company: Offroad Films.
Director: Akanksha Seda.

Mastercard - Room for Everyone / Where To Start (case study)

LLLLITL 2024-06-14 | Mastercard launched "WhereToStart," a digital tool to help Polish and Ukrainian businesses identify optimal locations to open shop using a complementary business data model. Part of the 'Room for Everyone' initiative, it builds on the successful 'Where to Settle' platform, which earned the SDG Grand Prix and Titanium Lion at Cannes.

With over 310,000 new companies in Poland in 2022 and 1,000 new businesses daily, many of which are Ukrainian, "WhereToStart" aims to support this entrepreneurial growth. It helps entrepreneurs find the best location for their businesses using anonymized Mastercard spending trends and additional data like street traffic and noise levels. This tool, free of charge, offers information previously available only to large companies.

“Choosing the right location is crucial for business success. 'Room for Everyone' aims to support small and medium-sized entrepreneurs from the start,” says Marta Życińska, general manager of Poland, Mastercard Europe.

WhereToStart is user-friendly, requiring no registration, and works on both mobile and desktop devices. It provides insights into business potential, surroundings, and complementary businesses, helping users make informed decisions. It covers 37 major Polish cities and includes access to commercial property listings, thanks to a partnership with the Morizon-Gratka Group. Data is aggregated and anonymized according to Mastercard's secure processing rules, ensuring user privacy.

AWARDS
Cannes Lions 2024
- Creative Data Grand Prix
- Gold in Direct
- Silver in Creative B2B
- Shortlisted in the Dan Wieden Titanium category

CREDITS
Brand: Mastercard, Poland.
Creative Agency: McCann Poland, Warsaw.
Production Companies: Craft London and New York, Dynamo Film Warsaw.

Mastercard
Communications Director: Anna Marciniak.
Consumer Marketing Manager: Ewelina Różycka.
Consumer Marketing Manager: Małgorzata Szczerbińska.
Data Insights Department Lead: Marek Kolano.
Data Science & Spatial Data Expert: Konrad Kujszczyk.
Data Science Lead: Rafał Czapski.
Executive Vice President, Marketing & Communications, International Markets at Mastercard: Beatrice Cornacchia.
General Manager Poland: Marta Życińska.
Head of Marketing and Communication Poland, Czech Rep & Slovakia: Jerzy Hołub.
Marketing Manager Mastercard Advisors: Yaryna Zozulia.
Chief Marketing & Communications Officer Mastercard: Raja Rajamannar.

McCann Poland
Account Supervisor: Anna Sokołowska.
Art. Director: Barbara Olech.
Broadcast Producer: Damian Szojda.
Copywriter: Anna Posuniak.
Creative Director: Bartosz Jeglejewski.
Graphic Designer: Kamil Rekosz.
Managing Director & Executive Creative Director: Marcin Sosiński.
Motion Designer: Magdalena Bąk.
Senior Art. Directors: Adam Głowacki, Paweł Cholewa.
Senior Copywriters: Ignacy Kotkowski, Kamil Kuć, Mateusz Gaca.
Senior Strategist: Michał Sławiński.
Traffic Manager: Jędrek Zamorowski.

McCann Worldgroup
Brand Director Europe (Mastercard): Tom.
CEE Regional Creative Director, Chief Creative Officer McCann Romania: Catalin Dobre.
Creative Excellence Manager, Europe & UK: Alice.
Executive Creative Directors Europe: Costin Bogdan, Luca Corteggiano.
Global Chief Creative Officer: Javier Campopiano.
Global Executive Creative Director, Chief Creative Officer McCann Europe: Adrian Botan.
Global Product Excellence Director: Carmen.

McCann XBC
Associate Creative Director: Bec Matlioski.
Associate Design Director: Nicole Byrne.
Associate Director, Project Management: Lexi Vogler.
Business Director: Claudine Gueriaux.
Creative Director: Bhanu Arbuaratna.
Design Director: Max Henderson, Bhanu Arbuaratna, Nicole Byrne, Travis Bonilla, Matt van Leeuwen.
EVP, Head of Strategy: Oriol Bombi.
Managing Director Poland: Małgorzata Tereszczenko.
President McCann XBC & Chief Client Officer McCann North America: Veronica Bertran.
SVP Group Creative Directors: Chad Baker, Ethan Schmidt.
SVP, Executive Account Director: Mat Cunnell.

Craft London and New York
Assistant Editors: Avery Mandeville, Nicola Haffenden, Plum OKeeffe.
Editors: Aindreas O'Gallchoir, Ilya Katsap.
Executive Producer: Dan Priore.
Motion Designer: Simon Harris.
Producers: Shawn Sobers, William Kaplan.

FP7/McCann Dubai
Associate Creative Director: Jonathan DaCruz.
CCO: Federico Fanti.
Motion Designer: Guilherme Silva.
Senior Copywriter: Liam Galt.
Senior Creative Director: Paulo Tavora Engler Pinto.
Senior Editor: Deydson Rocha.

Dynamo Film Warsaw
CEO and Executive Producer: Maciej Maciantowicz.
DOP: Iwo Rachwał.
Film Director: Tomasz Okulicz.
Producer: Anna Łopat.

Solski Communications (local PR agency)
PR Managers: Iwona Nawrocka-Kilinowska, Aleksandra Gołda.

Morizon-Gratka Group (Partner of Where to Start)
Head of PR & Communication: Artur Osak.

Brand New Galaxy (digital agency)
Senior Account Manager: Aneta Bebelska.
Senior Project Manager: Izabela Łabuńko.

Carat Poland (media agency)
Client Partner: Paulina Jaszczak.

Oreo - Kintsugi (case study)

LLLLITL 2024-06-13 | Oreos break. So the brand decided to fix this problem with a milenar Japanese technique: Kintsugi. By glueing Oreo pieces with more cream, adding taste and value to broken Oreo. Just like Kintsugi.

Oreo's 'Kintsugi' marketing campaign addresses the common issue of broken cookies by drawing inspiration from the ancient Japanese art. Kintsugi, which means "golden joinery," is the practice of repairing broken pottery by mending the areas of breakage with lacquer dusted or mixed with powdered gold, silver, or platinum. This technique not only restores the item but also adds beauty and value to the breakage.

Consumers often find broken Oreo cookies to be a disappointment, viewing them as imperfect and less enjoyable. However, the philosophy of Kintsugi teaches that there is beauty in imperfections and that items can become more valuable when repaired thoughtfully.

Oreo aimed to transform the negative perception of broken cookies into a positive experience, emphasizing that broken Oreos can be even more delightful. By leveraging the cultural significance and aesthetic appeal of Kintsugi, Oreo seeks to reframe broken cookies as unique and special rather than flawed.

The core idea was to embrace the breaks in Oreos and celebrate them by "repairing" them with extra cream filling, mimicking the Kintsugi technique. This not only adds more taste but also turns each broken cookie into a unique, artful treat.

The campaign was brought to life through a series of engaging and visually captivating advertisements and social media content. Each piece showcased the process of mending broken Oreo cookies with additional cream, illustrating how the breaks were turned into beautiful, cream-filled lines. Specially designed to look like a traditional glue stick, this product was filled with extra Oreo cream.

Through this innovative approach, Oreo not only addressed the practical issue of broken cookies but also created a meaningful narrative that resonated with consumers, ultimately enhancing the brand's image and consumer loyalty.

"Inspired by the centuries-old Japanese art of mending broken pottery with gold, we present the 'Kintsugi Oreo'. Now, if your Oreo breaks, it's easy and fun to fix it: just use our famous vanilla cream to join the pieces and make the world's most beloved cookie even more delicious." - Vinicius Stanzione, CCO at Leo Burnett Tailor Made.

CREDITS
Brand: Oreo, Brazil.
Creative Agency: Leo Burnett Tailor Made, São Paulo.

Mercado Livre - Ballboards (case study)

LLLLITL 2024-06-13 | For decades, advertising billboards have been integrating brands into the football environment. But never before had one of them actively participated in a match. To demonstrate the quick delivery of the largest e-commerce platform in Latin America, GUT São Paulo created the 'Ballboards'. Billboards equipped with a cannon that, at the corner kick moment, automatically delivered the ball to the player in seconds.

Latin America’s largest online retailer, is known for its fast delivery, and it's now taking its famous speed, efficiency and innovation straight to the soccer field with “Ballboards,” a creative idea that mixes technology, advertising and Brazilians’ passion for soccer to improve the game for fans.

Created with creative agency GUT São Paulo, the e-commerce platform transformed billboards at the Maracanã Stadium into dynamic tools that assist ball boys in quickly getting the ball back into play, cutting down on interruptions, and speeding up the game.

Launched during Brazil's league finals, the ‘Cariocão’, the campaign jumped off FIFA's finding that the actual time the ball is in play in Brazil is six minutes below the global average. The “Ballboard” campaign was designed to increase game fluidity by minimizing ball retrieval times. It scored impressive results: balls were delivered on average 5 seconds faster to players arriving at the corner kick, streamlining the flow of the game. See the “Ballboard” in action HERE.

"Our sponsorships and activations are designed to deliver a brand experience that connects to activities our consumers are most passionate about, and soccer fans in Brazil are among the most passionate sports fans in the world," said Iuri Maia, Head of Branding at Mercado Livre. "With this innovative campaign, we underscore attributes we are known for, such as fast shipping, in a creative and relevant way for our consumers."

“The creative concept behind ‘Ballboard’ transforms traditional advertising billboards into an active element of the game, proving that innovation can elevate the sport in unexpected ways," said Bruno Brux, Chief Creative Officer at GUT São Paulo. "This initiative sets a new precedent for game dynamics worldwide and shows how creativity can be used directly on the field."

"Ballboards materializes Mercado Libre's fast delivery, elevating the traditional field advertising board, which was previously a mere spectator, to the role of an active participant in the show." Rapha Borges and Rafa De Miranda, Creative Directors at GUT São Paulo.

AWARDS
Cannes Lions 2024
- Silver in Direct
- Bronze in Brand Experience & Activation
- Bronze in Media

CREDITS
Brand: Mercado Livre.
Head of Branding: Iuri Maia.
Branding Manager: Stephanie Romeiro.
Branding Specialist: Laryssa Rocha Monteiro.

Creative Agency: GUT São Paulo.
Founder & Creative Chairman: Anselmo Ramos.
Founder & Creative Chairman: Gaston Bigio.
Global CEO: Andrea Diquez.
Managing Director: Valeria Barone.
Chief Creative Officer: Bruno Brux.
Creative Directors: Rapha Borges and Rafa De Miranda.
Creatives: André Prestes, Carolina Ribeiro, jorge lucas, Junior Santos, Mariane Alves Almeida.
Head of Account: Alessandra Visintainer.
Regional Account Director: Natalia Noya.
Account Director: Raphaela Guillen.
Account Manager: Giovanna Falvino.
Head of Strategy: Gisele Bambace.
Strategy Director: Gabriela Sanchez.
Strategy Manager: Bruno Facundes.
Strategy Supervisor: Angel Pinheiro.
Head of Creative Content: Nathalia Capistrano.
Content Director: Adriana Boghosian.
Content Strategist: Isabella Ribeiro.
Influence Strategist: Jaqueline Lima.
Head of Media & Effectiveness: Douglas Silveira.
Media Director: Dennis Grassi.
Media Manager: Mayara Garcia.
Media Supervisors: Thaiz Gallina, Raquel Tavernari.
Media Coordinators: Dayanne Veríssimo, Alinne Lopes, Wes Santos.
Media Assistant: Nátaly Góes.
Head of Operations: Claudia Nakahara.
Project Managers: Isabella Quaglio, Bruna Oliveira.
Head of Production: Mônica Siqueira.
Production Director: Rafael Motta.
Production Manager: Thais Schroder.
Producer: Thiago Alonso.
Production Secretary: Lia Satiro.
3D: ROX Studio.
3D Design: Angelo Sá, Romero Sá, Renato Quaresma.
PR Director: Bárbara Lima.
PR: CDN Comunicação.
PR Team: Renato Rogenski, Jéssica Oliveira, Giovanna Pereira – CDN.
Filmmaker São Paulo: Diego Romero.
Filmmaker Rio de Janeiro: Pedro Rossi Siqueira da Silva.
Assistant Filmmaker Rio de Janeiro: Gabriel Soares Guimarães.
Editing and Motion: Cesar Macedo, Gabriel Prado, Rômulo Ramos.
Audio Production: Dragonfly.

DPLA - The Banned Book Club (case study)

LLLLITL 2024-06-11 | America is facing a book banning crisis. Conservative politicians are silencing Black, Brown and LGBTQIA+ voices by forcing librarians to take their books off the shelf. In 2023 alone, 3,059 books were banned - more than in any other year. The Digital Public Library of America holds that our democracy relies on our freedom to read. And believes books should always be available to everyone.

The DPLA created the most up to date database of all of the books banned in America. Then, geo-fenced the exact footprint of every library that banned the books - and made those books available for any person when they are within those very libraries. Sending a strong message to the book banners - that every time they try to take a book off the shelf, the DPLA will put it right back, virtually.

The Banned Book Club was launched in partnership with President Barack Obama, the most notable defender of our freedom of speech. The campaign reached people in the more than 20 states that have books banned with geo-located Instagram and Facebook ads, that alerted people just as they were near those offending libraries.

The Banned Book Club is a social first, digital solution designed for the future. Whenever a book is banned - it can simply be added to our dynamic database, making it available instantly in any library. Ensuring no book is ever banned again.

AWARDS
Cannes Lions 2024
- Gold and Silver in Media
- Bronze in Digital Craft
- Bronze in Direct

D&AD 2024
- Bronze in Creative Transformation (Services)
- Bronze in Direct (Digital)
- Bronze in Entertainment (Experiential)
- Bronze in Experiential (B2C Activations)
- Bronze in Impact (Initiative)

One Show 2024
- Best of Non-Profit
- Fusion Pencil
- 3 Gold in Experiential & Immersive
- Gold and Bronze in Interactive, Online & Mobile
- Silver in Creative Use of Technology
- Silver and Bronze in Integrated & Omnichannel
- Bronze in Creative Use of Data
- Bronze in Cultural Driver
- Bronze in Design
- Bronze in Direct Marketing
- Bronze in Social Media

Clio Awards 2024
- Gold and Bronze in Creative Use of Data
- 2 Silver and 1 Bronze in Digital & Mobile
- Bronze in Branded Entertainment & Content
- Bronze in Experience & Activation

CREDITS
Brand: Digital Public Library of America (DPLA).
Creative Agency: FCB, Chicago.
Production Company: 456 Studios.

Account Associate: Melina Weil.
Account Director: Andrea Blythe.
Account Executive: Jack Dunaway.
Account Supervisor: Jennel Oddo.
Associate Creative Director: Jake Roland, Kelly McGuckin.
Associate Manager, Influencer Marketing: Samantha Merkin.
Audio Engineer: Batsirayi Zesaguli.
Chief Creative Officer: Andres Ordonez, Pedro Perez.
Content Creator: Chris Colvin.
Creative Director: Alan Shen, Chris Walker.
Design Director: Megan Musgrave.
Director: Micah May.
Director of Strategy: JP Palmer.
Executive Creative Director: Bruno Mazzotti.
Executive Director: John Bracken.
Executive Producer: Lexie Tankersley.
Executive Vice President: Shannon McGovern.
Global Creative Partner: Danilo Boer.
Global Creative Producer: John Bleeden.
Head of Design: Michele Morales.
Management Director: Mack Hans, Rocki Hunter.
Managing Editor: Gus Spelman.
Motion Design Director: Mike Czernuik.
PR: Current Global.
PR Senior Manager: Josephine Mallari.
Senior Art Director: Max Franklin.
Senior Copywriter: Nick Farley.
Senior Producer: Anita Koltun, Shannon Clash.
Senior Project Manager: Lily Clark.
Senior Vice President: Chris Hamilton.
Studio Director: Roman Mendez.
Technical Lead: John Skibicki.

Samsung - The Art of Hack (case study)

LLLLITL 2024-06-11 | Samsung has launched an innovative e-commerce campaign to promote its new product, The Frame TV, by cleverly leveraging its unique design. The Frame TV is unlike any other television on the market, as it is shaped like a frame and allows users to display more than 1,600 pieces of art in wallpaper format when in standby mode.

Taking advantage of this artistic feature, Samsung devised a promotional strategy that effectively "hacked" the Spanish tax system. By selling The Frame as a piece of art rather than a consumer electronic device, Samsung was able to reduce the VAT from 21% to 10%. This clever use of a legal loophole made the TV more competitive in the market.

The campaign was executed through the website theartofhack.es, where users could upload or create their own drawings. These artworks were then classified as art, enabling users to automatically receive a discount on their purchase. This innovative approach not only highlighted the unique attributes of The Frame TV but also turned a promotional gimmick into a significant market advantage.

AWARDS
Cannes Lions 2024
- Bronze in Creative Commerce

D&AD 2024
- Silver in Commerce (Cultural Experience)

CREDITS
Brand: Samsung Electronics, Spain.
Chief Marketing Officer: Alfonso Fernández.
Consumer Marketing Director: Guillermo Barberá.
Consumer Marketing Manager: Jaime Aróstegui.

Creative Agency: Cheil Worldwide, Spain.
Design Agency: Cheil Worldwide, Spain.
Production Company: Cheil Worldwide, Spain.
1st Assistant Camera: Juan F. Nogueras.
Account Executive: Carlota Martín.
Account Supervisor: Carolina Contreras, Lucas Vilela.
Project Manager: Andrés Moncada.
Art Directors: Aitor Carreira, Andrea Pissarro, Jessika Freites, Lorena Velázquez, Myriam Cuervo, Natalia Oltra.
Art Supervisor: Tanis Bollain.
Copywriters: Adriana Hernández, Andrea Hernando, Jana Núñez, Julen Borge, Markel Otsoa.
Creative Directors: Eduardo Vea Keating, Jaime Azurmendi.
Digital Designers: Juan Ramón Alonso, Miguel Cobos, Samuel Marulanda.
Executive Creative Director: Alejandro Di Trolio.
Producers: Alberto Sánchez, María Jiménez.
Resource Manager: Irini Sfirakis.
Video Editors: José Luis Mancilla, Miriam Pérez.

Marmite - Smugglers (case study)

LLLLITL 2024-06-10 | Introducing the Marmite 'Smugglers' campaign, a brilliantly executed and innovative initiative that taps into the deep emotional connection UK expats have with their beloved yeast extract spread. This campaign, created by adam&eveDDB and directed by SMUGGLER's Henry-Alex Rubin, brings a clever and humorous twist to the challenge of making Marmite accessible to Brits living in the US.

The campaign stems from the insightful realization that Marmite is one of the most missed products by UK expats. With over 700,000 Brits residing in the US, the craving for Marmite is a genuine issue. This insight inspired the campaign’s core idea: leveraging the dedication of Marmite's loyal fan base to spread the love across borders in a unique and engaging way.

The concept revolves around the idea of Marmite smugglers – willing participants who transport jars of Marmite from the UK to the US. This not only highlights the scarcity of Marmite for expats but also adds a playful, true-crime narrative to the campaign. The tongue-in-cheek approach transforms a simple act of sharing into an adventurous and humorous mission.

Executed as a 90-second expose-style film, the campaign documents the lengths real Marmite smugglers go to bring the spread into New York. Participants carry jars of Marmite on their flights and hand them over upon arrival, effectively smuggling Marmite across borders. Each smuggler receives a special edition Smuggler jar of Marmite as a token of appreciation for their efforts. The film is both engaging and entertaining, capturing the essence of a covert operation with a humorous twist.

The campaign successfully created a buzz around Marmite, resonating deeply with its target audience. It drew attention to the brand’s playful and innovative spirit, engaging both existing fans and potential new consumers. By turning a simple product shortage into an adventurous narrative, Marmite reinforced its brand identity and emotional connection with its audience.

This campaign is smart and brilliant for several reasons. Firstly, it leverages a deep emotional insight about the product’s importance to its fans. Secondly, it transforms a straightforward issue into a captivating and humorous story, making the brand memorable and shareable. Thirdly, it involves the audience directly, creating a sense of community and participation. Finally, the campaign’s execution through a high-quality film ensures it stands out in a crowded market, highlighting the brand’s creativity and ingenuity.

In summary, the Marmite Smugglers Campaign is a masterclass in using humor, emotional insight, and creative storytelling to elevate a brand and engage its audience in a meaningful and memorable way.

AWARDS
Cannes Lions 2024
- Bronze in Social & Influencer
- Silver in Brand Experience & Activation

CREDITS
Brand: Marmite, United-Kingdom.
General Manager: Andre Burger.
Marketing Director: Georgina Bradford.
Marketing Manager: Lena Portchmouth.
Brand Manager: Laura Iliffe.

Creative Agencies: adam&eve London and adam&eve New York.
Chief Creative Officer: Richard Brim.

adam&eve London
Executive Creative Directors, London: Ant Nelson, Mike Sutherland
Creatives: Feargal Ballance, Matt Gay.
Creative: Molly Johnstone.
Head of Production: Nikki Cramphorn.
Head of Print: Jaki Jo Hannan.
Chief Executive Officer: Miranda Hipwell.
Managing Partner: Tom White.
Account Director: Max Sullivan.
Planner: Liora Ingram.
Project Director: Linda-Aileen Macfarlane.
Business Affairs Manager: Layla Husted.
Head of Design: Mitch Horton.

adam&eve New York
Executive Creative Directors: Dave Brown, Daniel Bonder.
Creatives: Clarissa Dale, Stacie Larsen, Chris Brailey.
Producer: Christopher Lane.
Managing Director: James Rowe.
Account Director: Tatiana Fernandez.
Project Manager: Kimmy Harvey.

Production Company: Smuggler Films.
Directors: Henry Alex-Rubin, Jonah & Stan.
Producer: Sidney Arthur.
Director's Assistant: KJ Brown.
Production Assistant: Kamran Marzban.

Post Production and VFX: Untold Studios.
Chief Creative Officer: Neil Davies.
VFX Artist: Andrew Curtis.
Executive Producer: Ian Berry.
Producer: George Reid.
Post Production Assistant: Zuzanna Drozdz.

Editorial: Cabin Edit.
Editor: Talia Pasqua.
Producer: Alex Hooker.

Media: Mindshare UK.
Business Director: Kate Pigden.
Account Directors: George Peto, Hannah Clayton.
Account Executives: Meg Wieland, Georgie Coley.
Account Manager: James Waggott.

PR: W Communications.

Solo Stove - Snoop Goes Smokeless (case study)

LLLLITL 2024-06-10 | Born from the creative platform "We Fixed Fire," the campaign "Snoop Goes Smokeless" aimed to spotlight the primary benefits of Solo Stove: its no-smell, no-eye-burn, no-smoke ambiance. This unique feature of Solo Stove's product led to a clever ideation: what if we communicated this benefit through the most unexpected spokesperson in popular culture?

To create widespread awareness and elevate Solo Stove into a household name, we enlisted Snoop Dogg, the iconic figure synonymous with smoke, for their first national ad campaign, challenging his entire public persona.

Claiming to "give up smoke," Snoop Dogg ignited an internet frenzy. His announcement caused a stir among fans and celebrities alike, many of whom joined him in declaring their temporary cannabis abstinence. The ripple effect was immediate and significant: weed stocks saw a noticeable drop, Snoop trended #1 on X (formerly Twitter), and his social media following surged by a million new followers.

Cryptic posts hinting at his new smokeless lifestyle further fueled curiosity and speculation. After four suspenseful days, Solo Stove unveiled their first national TV spot alongside supporting content across social media, radio, and outdoor advertising, revealing the true meaning behind Snoop's "going smokeless" – he had simply upgraded his fire pit to a Solo Stove.

The campaign's climax saw Snoop Dogg trending #1 on X once more, this time with Solo Stove prominently featured. The strategic use of Snoop Dogg not only captured massive attention but also effectively communicated the smokeless feature of Solo Stove, transforming the brand into a recognized name nationwide. The innovative approach and celebrity endorsement not only drew attention but also successfully aligned Solo Stove with a modern, lifestyle-oriented audience.

AWARDS
Cannes Lions 2024
- Silver in Social & Influencer
- Bronze in PR

D&AD 2024
- Silver in Digital & Social (Use of Talent & Influencers)
- Silver in PR (Use of Talent & Influencers)

Clio Awards 2024
- 2 Gold in Social Media
- Silver in Media

One Show 2024
- Gold in Social Media (Influencer Marketing, Use of Celebrity)
- Bronze in Social Media (Stunts & Activations)

CREDITS
Brand: Solo Stove.
Chief Executive Officer: John Merris.
Director of Brand: Chris Johnson.
Creative Director: Justin Lake.

Creative Agency: The Martin Agency.
Chief Creative Officer: Danny Robinson.
Creative Director: Mik Manulik.
Creative Director: Allison Apperson.
Associate Creative Director: Chase Zreet.
VP/Design Director: Judd Burnette.
Chief Revenue Officer: Tasha Dean.
VP/Account Director: Katie White.
MD/Head of Production, Executive Producer: Brett Alexander.
Senior Content Producer: Jacob Munson.
Associate Content Producer: Andy Singer.
Senior Project Manager: Jenn Clark.
Head of Social: Matt DeSiena.
Senior Brand and Social Strategist: Alana Gleason.
Head of Analytics: JT Taillon.
Senior Analyst: Bradley Wells.
VP/Head of PR Cultural Impact Lab: Lauren Brennan.
Cultural Impact Director: Maggie Burke.
Influencer Partnerships Director: Jake Rosenblatt.
Manager of Brand Comms: Sofie Diskin.
Senior Print Producer: Jamie Dollins.
VP/Director of Business and Financial Affairs: Maria Rougvie.
Associate Director, Financial Affairs: Elizabeth Moore.
Broadcast Traffic Director: Debbie Douglas.
Traffic Manager: Kati Pond.

Production Company: Even/Odd, Los Angeles.
Director: Chioke Nassor.
Photographer: Baldomero Fernandez.
Founder & ECD: Malcolm Pullinger.
Founder: Mohammad Gorjestani.
Executive Producer: Justin Lomax.
Head of Production: Taylor Feltner.
Line Producer: Kimberly Estrada.

Production Company: Friends & Family Production, New York.
Managing Director: Scott Kaplan.
Executive Producer: Jed Herold.

Editing: SuperJoy, Richmond.
Editor: Brian Gregory.
Assistant Editor: Tony Schaffner.
GFX Motion Artist: Lyly Nguyen.
Flame Artist: Paul Wiederholt.
Colorist: Roslyn Di Sisto.
Executive Producer: Brian Fox.
Senior Producer: Chris Frendo.
Associate Producer: Kathryne Jansen.
Editor: Will Rummell.

Coloring: Royal Muster Color, Culver City.
Color Assist: Esli Israel.
Color Assist: Zack Wilpon.
Executive Producer: Thatcher Peterson.

Amazon Web Services - Vanishing Emails (case study)

LLLLITL 2024-06-09 | A new tool that identifies and deletes expired promotional emails. VML and Amazon Web Services (AWS) have created "Vanishing Emails" to automate the deletion of expired promotional emails using advanced algorithms – minimizing energy usage and reducing the advertising industry's carbon footprint. When promotional emails expire, their carbon footprint cuts back.

Storing large amounts of email data, such as temporary promotional emails, increases the carbon footprint. The advertising industry accounts for about 30% of this problem, underscoring the need for a mindset shift towards a more environmentally conscious digital approach.

An innovative solution to automate the deletion of expired promotional emails, significantly minimizing stored email data and associated energy use. "Vanishing Emails" automates the deletion of expired promotional emails through advanced algorithms and machine learning. Using AWS, it efficiently processes deleted emails while ensuring data privacy and security, identifying unnecessary emails based on sender information, subject lines, and content patterns. Users engage by linking the tool to their email accounts, customizing deletion settings, and tracking their real-time environmental contributions.

"Vanishing Emails" addresses the growing global concern of humanity's collective digital carbon footprint. Created by WPP, developed by Slalom and powered by Amazon Web Services (AWS), "Vanishing Emails" will help to set a new standard for sustainable digital communications.
- 219.2 billion: Promotional emails deleted in first year.
- 6,500: Reduction in tons of CO2 emissions.

AWARDS
Cannes Lions 2024
- Bronze in Innovation

CREDITS
Brand: Amazon Web Services (AWS).
Creative Agency: VML Lima, Perú.
Global Chief Creative Officer: Debbi Vandeven.
Global Chief Creative Officer, Innovation and Co-Chief Creative Officer, EMEE: Bas Korsten.

Aguila - Beer Lottery (case study)

LLLLITL 2024-06-09 | After Colombia failed to qualify for the 2022 FIFA World Cup, the national team's fans were left disheartened and disconnected. To reignite their passion and bring them back into the fold, the team's biggest sponsor, Cerveza Aguila, devised an innovative campaign that combined two elements beloved by fans — betting and national pride. This campaign, dubbed the Beer Lottery, aimed to create a new and engaging experience for fans, allowing them to feel connected to the team in a unique way.

The Beer Lottery revolved around a simple yet clever idea. Before every match, the players line up for the national anthem, appearing in what seems to be a random order. Cerveza Aguila took advantage of this by creating tickets with specific number sequences corresponding to potential player lineups. Fans could purchase these tickets, and if the sequence on their ticket matched the players' lineup from left to right during the national anthem, they would win their share of a substantial prize — $500 million pesos worth of beer. This not only rekindled the excitement of the fans but also gave them a fun and patriotic way to stay engaged with the team.

Through this creative approach, Cerveza Aguila managed to blend the thrill of betting with the deep sense of national pride, transforming the disappointment of missing the World Cup into a spirited and communal event. The Beer Lottery not only boosted fan morale but also reinforced the bond between the national team and its supporters, demonstrating how innovative thinking can turn a setback into an opportunity for celebration and unity.

CREDITS
Brand: Aguila (AB InBev).
Creative Agency: DAVID, Bogota, Colombia.
Media Placement: Zenith, Bogota, Colombia.
Influencer Marketing: Alina Vélez Comunicaciones.
Music Production: HOOKED Music GmbH, Hamburg, Germany.
Post-Production: Hastings Audio Network, Hamburg, Germany.

Aguila, AB InBev
Global Chief Marketing Officer: Marcel Marcondes.
Vice President Marketing: Alvaro De Luna.
Marketing Director Aguila Franchise, ETD & Local Crops: Diego Pomareda.
Brand Manager: Natalia Aguirre.
Experience & Sponsorship: Alejandro Cardona.
Project Manager: Juan Camilo Matiz.
Brand Media Lead: Diana Chávez.
Content, PR & Influencer Marketing Lead: Juan Pablo Carvajal.
Brand Content Analyst: Simón Escobar.
Intern: Nicolas Solano.
Product Owner: Paola Rojas.
DTC & CTL Specialist: Daniela Rojas.

DAVID
Partner & Global Chief Creative Officer: Pancho Cassis.
Chief Creative Officer: Carlos Camacho.
Managing Director: Juan Pablo García.
Copywriters: Jonnathan Rodríguez López, Nicolás Téllez.
Art Directors: Gabriel Muñoz Lara, Alejandra Ramírez, Javier Andrés Caceres, Roger Paul Gonzales Sotelo.
Motion Designer: Juan David Rivadeneira.
Account Executive: Krizia Brühl.
Brand Planner: Carmen De Ureña.
Insights: Yaneth Bolaños.

Alina Vélez Comunicaciones S.A.S
Sr. Account Executive: Estefania Assaf.

Adbid
Media Consultant: Ana María Erazo.

Zenith Media
Coordinadora de Medios: Alejandra Ricaurte.
Planner de Medios: Maria Paula Mateus.

Dattis
Gerente de PR: Dallan Arevalo.
PR Brand Lead: Maria Fernanda Gonzalez.
Analista de PR: Paola Vigoya.

HOOKED Music GmbH
CEO: Jan Finck Barboza.
Head of Production: Camilo Remolina.

Hastings Audio Network
Producer: Jan Werner.
Sound Engineer: Rafael Santiago.

Stok’d - Next to Stok’d (case study)

LLLLITL 2024-06-07 | Cannabis sales in Canada are legal, but cannabis advertising faces stringent regulations. The 'Canadian Cannabis Act' imposes strict limitations, prohibiting any advertising that depicts products, people, paraphernalia, implies effects, or reveals the inside of a store. Additionally, social platforms like Meta and Google, along with other media channels such as out-of-home (OOH) and radio, employ robust filters to screen out cannabis-related advertisements.

So how does a regional cannabis chain like Stok’d navigate these restrictions? Enter 'Next to Stok’d'—a legal-ish campaign that creatively circumvents the laws and sophisticated media filters by cleverly partnering with neighbouring businesses to promote their store while covertly promoting Stok’d.

“When presented with the idea from the Angry Butterfly team, we were both excited and nervous, but we loved the concept,” says Lisa Bigioni, CEO and co-founder of Stok’d. “The playful and entrepreneurial approach was a perfect brand fit for us.”

“Our goal was to promote Stok’d while being authentic to the businesses we partnered with,” explains Erin Kawalecki, partner and chief creative officer at Angry Butterfly. “Finding common language that promoted both was key, and a lot of fun too.”

“The trickiest part was ensuring the ads passed through all the different filters,” says Bernice Lo, VP and Executive Creative Director at Angry Butterfly. “We had plan B and C ready to go, just in case.”

The geo-targeted, 21+ campaign launched across various channels including paid/sponsored posts, pre-rolls, evening radio, and select TSA placements. However, the campaign's story was kept out of the ad industry press until its completion to avoid alerting platforms like Meta and Google, ensuring they wouldn’t impede the campaign's success.

AWARDS
Cannes Lions 2024
- Bronze in Film
- Bronze in Media

CREDITS
Client: Stok'd Cannabis.
CEO & Co-Founder: Lisa Bigioni.
Head of Retail: Franceso Caruso.

Advertising Agency: Angry Butterfly, Toronto, Canada.
Chief Creative Officer: Erin Kawalecki.
Chief Executive Officer: Brent Choi.
Chief Strategy Officer: Graham Candy.
VP Creative Director: Bernice Lo.
VP Creative Director: Adam Notzl-Keyser.
ACD/Art Director: Chenice Piercy.
ACD/Copywriter: Ryan Chiasson.
Art Director: Emily Fixman.
Group Account Director: Mark Khatter.
VP Head of Production: Hanna Bratt.
Producer: Dennis Soler.
Media Director: Shubham Vijan.

Production Company: Nimble Content.
Director: Erica Orofino.
Executive Producer: Andrew Lynch.
Executive Producer: Michael Corbiere.
Producer: Andy McLeod.
Director of Photography: Viktor Cahoj.

Casting: Jigsaw Casting.
Casting Director: Shasta Lutz.

Post: Recess Post.
Executive Producer: Tanja Harney.
Producer: Anu Chhetry.
Post-Production Assistant: Ben Sagar.
Offline Editor: Duane VanderMeulen.
Colorist: Zachary Cox.
Audio: Quinn Hoodless.

Editorial Company: Married To Giants.
Offline Editor: Jacqueline Leon.
Offline Editor: Korben Lirette.
Assistant Editor: Miku Sakamoto.
Executive Producer: Amanda Henry.

Media Agency: Stryker.
President: Jennifer Yang.
Account Manager: Mike Austin.

Specsavers - The Misheard Version (case study)

LLLLITL 2024-06-07 | Specsavers’ innovative audiology campaign, featuring a reimagined rendition of Rick Astley’s classic hit, has taken a bold step forward in raising awareness about hearing loss. Building on the success of their Misheard Version released in late 2023, wherein Astley playfully sang intentionally incorrect lyrics, the eyewear company has now expanded its reach with a disruptive radio advertisement.

In this latest iteration, listeners are treated to what appears to be the familiar melody of "Never Gonna Give You Up." However, astute ears will notice the subtle alterations: instead of the original lyrics, Astley croons amusingly misheard phrases like "Never gonna run around with dessert spoons" and "you wouldn’t catch nits from any other guy." The intention behind this clever twist is to prompt introspection among the audience about their own hearing abilities.

The 60-second radio spot cleverly incorporates actor Rob Brydon, who breaks the illusion by questioning the accuracy of the lyrics. His interjection serves as a gentle nudge for listeners to consider booking a free hearing test at Specsavers, as mishearing lyrics can often signify an underlying hearing impairment.

This campaign, spearheaded by Golin and supported by media planning from Specsavers and Manning Gottlieb OMD, aims not only to entertain but also to encourage proactive measures toward better hearing health. With its initial success in generating social buzz and increased hearing test bookings, the campaign now extends its reach across commercial radio networks in the UK, promising to surprise and engage the public further.

AWARDS
Cannes Lions 2024
- Audio & Radio Grand Prix
- PR Grand Prix
- Gold and Silver in Audio & Radio
- Silver in Health & Wellness
- Silver in PR

CREDITS
Brand: Specsavers.
Head of Brand: Lisa Hale.
Creative Agency: Golin, London.
Executive Creative Director: Alex Wood.
Social Medi Agency: Tangerine.
Media Agencies: Manning Gottlieb OMD and Bauer Media.

KFC - The Recipe Run (case study)

LLLLITL 2024-06-07 | In May 2023, gamers were thrilled to dive into The Legend of Zelda: Tears of the Kingdom (TOTK), the much-awaited sequel to a beloved video game franchise. As players embarked on their virtual adventures and shared their experiences on social media, KFC made an intriguing observation: a character within the game bore a striking resemblance to none other than Colonel Sanders himself. Adding to the coincidence, TOTK introduced a novel feature allowing players to cook fried chicken using in-game ingredients for the first time in the series.

Capitalizing on this amusing coincidence, KFC Spain introduced "The Recipe Run," a clever campaign that tapped into gamers' enthusiasm for both the Zelda universe and KFC's iconic fried chicken. The challenge tasked gamers with cooking KFC's signature chicken in the game as swiftly as possible. Participants were required to upload gameplay footage showcasing interactions with the Colonel lookalike, gathering and cooking raw chicken, cooking oil, and the 11 secret herbs and spices scattered throughout TOTK's virtual world.

Beyond individual challenges, KFC extended the excitement globally by inviting amateur gamers from 17 countries to compete against each other in The Recipe Run. The winner, determined by the fastest completion time, was awarded a prestigious gold trophy resembling a chicken thigh valued at €11,000 ($11,600). Collaborating with Spanish creative agency PS21 and the Spanish speedrunning community SRE (@SpeedrunEspanol), KFC orchestrated a campaign that quickly gained traction. #TheRecipeRun trended on Twitter shortly after launch, generating a staggering 145 million impressions on social media, accompanied by 100 hours of organic content worldwide.

The campaign also drove tangible business results, with 2,500 participants within a week and a remarkable 58% surge in web traffic during the promotion period. Notably, 44.5% of KFC orders were placed via desktop computers, a significant increase from the five-month average of 12%. This innovative crossover between gaming culture and fast food marketing showcased KFC's agility in engaging with a diverse audience while leveraging popular gaming trends.

CREDITS
Brand: KFC, Spain.
Creative Agency: PS21, Madrid.
Client: Kerman Romeo, Beatriz Martínez.

BMW - iJack (case study)

LLLLITL 2024-06-07 | In the UAE, the surge in electric vehicle (EV) purchases has been notable, driven by a growing awareness of environmental concerns and the need for sustainable transportation. However, given the relatively limited availability of home charging stations, reliance on public charging infrastructure is common. For potential EV buyers, a crucial step in their decision-making process involves researching the nearest charging points to ensure practicality.

Capitalizing on this consumer behavior, BMW, a recent player in the UAE's EV market, devised a strategic campaign. They strategically photographed their EVs at over 300 charging stations across Dubai and cleverly integrated these images into Google Maps reviews for each location. This innovative tactic, orchestrated by Serviceplan Dubai, essentially "photobombed" the Google Maps reviews with BMW's electric vehicles, ensuring that every search for charging stations prominently featured images of BMWs.

The campaign's simplicity was its strength; it only required three BMWs and a smartphone to execute. Beyond staged photos that appeared authentic, BMW also provided 360-degree views of the cars' interiors and incorporated QR codes into the images, enabling viewers to request test drives.

The results were impressive: the images garnered 2 million organic views on Google Maps, leading to a remarkable 400% increase in test drives, with a significant portion of new bookings directly attributed to Google Maps. Moreover, the campaign generated $2.2 million in earned media and garnered attention from influential motoring channels like Arab GT, boasting 3.7 million social media followers in the region.

AWARDS
Cannes Lions 2024
- Bronze in Media

CREDITS
Brand: BMW Middle East, United Arab Emirates.
Regional Head of Marketing & Product: Ali Kherallah.
Regional Marketing Communication Manager: Mariam Al Rousan.
Director, Marketing & Customer Life Cycle Management AGMC: Ziad Boghdady.
Digital Business Unit Manager AGMC: Eyad Hawarneh.

Creative Agency: Serviceplan Middle East, Dubai.
Managing Partner: Natalie Shardan.
Digital and Social Strategy Lead: Karim Mroueh.
Sr. Account Manager: Gonca Gorgulu.
Account Executives: Naba Kadri, Tarek Daher.
Chief Creative Officer: Akhilesh Bagri.
Executive Creative Director: Nishant Shah.
Creative Director: André Couto.
Associate Creative Directors Copy: Sameer Suri, Aashna Gopalkrishnan..
Associate Creative Directors Art: Kenneth Barnes, Daniel Zacatenco.
Art Directors: Kunal Gagwani, Alejandro Bucoy.
Digital Art Director: Yasir Ali.
Senior Copywriter: Zein Sadedin.
Copywriter: Mariam Maroof.
Producer: Geetika Sood.

Heineken - Pub Museums (case study)

LLLLITL 2024-06-06 | Irish pubs are renowned worldwide not only as cultural landmarks but also as crucial elements of local history, continuing to play an essential role in their communities. After a challenging period for the hospitality sector, LePub and Publicis Dublin’s latest campaign for Heineken seeks to preserve this heritage by transforming pubs into virtual museums. This creative strategy aims to make historic pubs across Ireland eligible for the financial advantages typically granted to cultural institutions.

Achieving official museum status would allow these pubs to access government grants and tax exemptions usually reserved for cultural landmarks. This initiative aligns with the Vintners’ Federation of Ireland’s efforts to gain UNESCO recognition for pubs as integral parts of Ireland’s cultural heritage. Through the use of technology and storytelling, the campaign emphasizes the cultural importance of these pubs and aims to ensure their survival.

The campaign employs AR technology to showcase the stories of historic pubs such as Toners Pub in Dublin, Mother Macs Public House in Limerick, and Sean’s Bar in Athlone, reputed to be the oldest pub in the world. Visitors can scan a QR code on a plaque outside the pubs with their phones, which activates an AR overlay that narrates local legends. By combining indoor navigation with each pub’s geolocation, photogrammetry was used to create digital 3D models of historical artifacts inside the pubs.

Bruno Bertelli, CEO of LePub and CCO of Publicis Worldwide, states: “It is unfortunate that many pubs, which have endured for centuries, are now facing financial challenges. We wanted to showcase the historical and cultural significance of these remarkable places, making them eligible for financial support from public institutions.” This campaign not only aims to protect the heritage of Irish pubs but also to ensure their ongoing role in local culture and communities.

AWARDS
Cannes Lions 2024
- Shortlisted in the Dan Wieden Titanium category
- Gold and Silver in Brand Experience & Activation
- Gold and Silver in Outdoor
- Gold in Creative B2B
- Gold in Direct
- Silver in Audio & Radio
- Silver in PR

CREDITS
Brand: Heineken.
Brand Director: Nabil Nasser.
Communications Director: Daniela Iebba.
Designer: Rob van Griensven.
PR: Jonathan O’Lone.
Communications Manager: Alexander Drake.
Manager: Bob van Iersel.
Marketing Director: Fiona Curtin.
Marketing Manager: Mark Noble.
Brand Manager: Rachael Crawley.

Creative Agency: LePub Milan.
Chief Executive Officer: Bruno Bertelli.
Chief Creative Officer: Cristiana Boccassini.
Executive Creative Director: Eoin Sherry.
Creative Director: Jack Christensen.
Creative Director: Stefano Zanoni.
Associate Creative Director: Roberto Ardigò.
Art Director: Flavia Conti.
Copywriter: Cristiana Candido.
Head of Client Services: Shirine Aoun.
Account Director: Ilaria Castiglioni.
Account Director: Gonzalo Gutiérrez Gauna.
Communications Director: Isabella Cecconi.
PR: Eleonora Botta.
Head of Technology: Mauro Mazzei.
Head of Production: Vittorio Cafiero.
Digital Producer: Simona Caldarini.
Designer: Serena Murgia.
Designer: Federica Muscillo.

Agency / Creative: Publicis Dublin.
Creative Director: Ger Roe.
Creative Director: Peter Dobbyn.
Account Director: Ruth McCormack.
Agency Producer: Rachel Murray.
Art Director: Cormac O’Connor.
Tech Lead: Cian McIntyre.
Studio Manager: Hannah MyGlynn.
Production Assistant: Jordan Dempsey.
Print Producer: Gavin Kenny.
Business Director: Sinead Dennis.

Creative Agency: Thinkhouse.
Founder: Jane McDaid.
Account Director: Laura Wall.
Account Manager: Lucy Carroll.
Account Executive: Niamh Hoy.

XR Creative Studio: Lens That.

Anzen Health - 855-How-To-Quit-(Opioids) (case study)

LLLLITL 2024-06-06 | 855-HOW-TO-QUIT-(OPIOIDS) is an innovative approach to help those struggling with opioids. It’s a helpline that turns the object of addiction into a way out, to reach out to people in the most critical moment – when they have a pill in their hand.

The helpline uses the familiar opioid pill codes as phone extensions, connecting the caller with a person who managed to quit that very same pill, sharing their experiences and advice on how to quit. The initiative launched as a nationwide campaign on location and context specific OOH media, film, and social.

Serviceplan Group, in collaboration with a coalition of NGOs, healthcare consultancy Anzen Health, activists, media partners, and professional photographers, has launched an innovative initiative called 855-HOW-TO-QUIT. This creative campaign aims to combat the opioid epidemic by providing a toll-free helpline that uses the imprint codes found on common opioid pills as phone extensions. This unique system allows individuals struggling with opioid addiction to connect directly with those who have successfully managed to quit, offering personalized advice and support.

The initiative provides multiple ways for the public to get involved. Individuals can engage in advocacy efforts, support relevant legislation, and influence decisions that promote recovery. Additionally, people can participate through volunteering, donating, or sharing their recovery stories, which not only inspire others but also contribute to a society that celebrates and supports recovery. 855-HOW-TO-QUIT offers a beacon of hope in the battle against opioid addiction, providing a vital path to recovery for those in need.

AWARDS
Cannes Lions 2024
- Shortlisted in the Dan Wieden Titanium category
- Gold and Bronze in Design
- Silver in Outdoor
- Bronze in Direct
- Bronze in Media

D&AD 2024
- 2 Gold in Graphic Design (Integrated and Websites & Apps)
- Silver in Media (Interaction)
- Bronze in Art Direction (Direct)
- Bronze in Media (Direct)

CREDITS
Advertiser, Brand: Anzen Health, Chicago.
CEO: Michel May.
Developer: Oliver Thellmann.

Advertising Agency: Serviceplan Germany, Munich.
Global Chief Creative Officer: Alex Schill / SERVICEPLAN GROUP.
Art Directors: Camille Nizet, Tanvi Phalak, Rohil Borole, Kai West Schlosser.
Copywriters: Shruthi Subramanian, Javier Granados.
Executive Creative Directors: Lorenz Langgartner, Franz Röppischer.
Creative Director: Dennis Fritz.
Junior Motion Designer: Margarita Nikolajeva.
Junior Art Director: Michał Kuśmierz.
Senior PR Manager: Mariia Astraukh.

Media Agency: MediaPlus Germany, Munich.
Global Creative Lead: Maximilian Florian Schöngen.
Media Agency: MediaPlus North America, New York.
CEO: Tamara Alesi.

Talon:
US Chief Client Officer: Enza Chiodi.

We Are Those People:
Founder: Erika Ball.

Raw Materials:
CEO: John Roescher.
COO: Jennifer Allen.
CCO: Pablo Marques.
Creative Director: Wojciech Zalot.
Lead Creative Technologist: Richard Mattka.
Senior Program Manager: Joanna Kinscherff.

Post Production Company: JAMM, Venice.

Music/Sound Company: DaHouse Audio, Overath.
Music Supervisor: Wonder Betin.
Executive Producer: Cassiano Derenji.
Executive Producer: Carol Masseti.
Music Director: Lucas Mayer.
Music Producer: Silvinho Erne.
Music Producer: Rodrigo Lemos.

Production Company: JOJX, Venice.
Director: Oliver Würffell.
Executive Producer: Jackson Morton.
Executive Producer: Joe Care.
Executive Producer: Pedro Aragão De Oliveira.
Production Manager: Mary Katherine Wise.
Office Coordinator: Karsyn Joy Reynoso.

Photographers: Jeffrey Stockbridge, Tom Kubik.

kimera:
Type Designer: Michael Clasen.

Public Relations Agency: Tulom, São Paulo.
PR: Karan Novas.
Public Relations Agency: Peppercomm.
SVP: Melissa Vigue.
Public Relations Agency: Persuasion Communications.
Founder: Jane Austin.

Freelancers / Other:
3D Artist: Roman Tikhonov.
Post-production: János Kiss.
Copy Editor: Quentin Lichtblau.
Copywriter: Taro Taniwaki.
Gaffer: Michael Cruz.
1st AD: Christopher Berger.
1st AC: Josh Borgoni.
Production Designer: Michael Westerman.
Key Grip: Evan Davies.
Sound: Jim Castroo.
Casting Director: Gabrielle Schary.
Casting Associate: Wade Hendrickson.
Line Producer: Leanne Amos.
Production Supervisor: Elisabeth Compton.
Asst. Production Supervisor: Daphne Gomez.
Asst. Production Supervisor SF: Maddy Graves.
Location Scout: David Weber.
Location Manager: Christian Powell.
Production Assistant: Seanna Lanagan.
Production Assistant: Andrew Dirk.

Eletromidia - Guarded Bus Stop (case study)

LLLLITL 2024-06-06 | Earlier this year, Eletromidia, an out-of-home ad placement company, collaborated with AlmapBBDO to create "Abrigo Amigo." This São Paulo-based initiative aims to help women feel safer while waiting for buses alone at night by utilizing the company's digital OOH installations. According to Eletromidia, 68 percent of women in Brazil's largest city are uncomfortable traveling alone after dark.

The project will now expand to 100 locations, including more in São Paulo and Rio de Janeiro. With support from the federal government and brands like Santander, Vivo, Bradesco Seguros, Sempre Livre, Diageo, and Anhanguera, the initiative is set to grow. Contributions from the city and state of São Paulo have also been instrumental in its development.

The concept focuses on functionality rather than grace. Digital advertising displays at bus shelters are equipped with microphones, night vision cameras, and internet connections, which activate between 8 p.m. and 5 a.m. A woman—or any vulnerable person—can use the system if they feel unsafe while waiting alone. The display connects them with a representative who knows their location and can keep them company until their transport arrives. During the daytime, these displays revert to streaming regular ads.

"Eletromidia is dedicated to transforming cities. And in this case, that’s exactly what we’re doing. Abrigo Amigo is an innovative initiative that uses technology to address a major social issue in the daily experience of major urban centers," says Alexandre Guerrero, CEO of Eletromidia. He believes the project could "make a positive impact on the lives of thousands of people." The new shelters will be activated in stages, starting with a 10-location soft rollout in São Paulo. “Abrigo Amigo is a rare opportunity to align commercial goals with a social purpose," say AlmapBBDO ECDs Rafael Gil and Rodrigo Almeida. "Eletromidia can show the market just how technologically advanced its ads are while also providing a fundamental service for society, and standing by women in their hour of need.”

AWARDS
Cannes Lions 2024
- Shorlisted in the Dan Wieden Titanium Lions category
- Shorlisted in the Glass 'The Lion for Change' category
- Shorlisted in the Innovation category

CREDITS
Brand: Eletromidia, Sao Paulo.
CEO: Alexandre Guerrero.

Creative Agency: AlmapBBDO, Sao Paulo.
CEO: Filipe Bartholomeu.
CCOs: Luiz Sanches and Marco “Pernil” Giannelli.
Executive Creative Directors: Rafael Gil and Rodrigo Almeida.
Creatives: Rafael Gil, Rodrigo Almeida, Ingryd Cruz, Gustavo Tasselli, and Fernando Christo.
Liaisons: Fernando “Fefo” Silva and Manuella Gavioli.
Media: Rafaela Alves, Suellen Kiss, and Thiago Gonzales.
Film Production: CINE.
Scene Directors: Walk In.
Approval: Lucio Schneider and Marcelo Pacheco.

Renault - Cars to Work (case study)

LLLLITL 2024-06-06 | Renault has a long-standing commitment to providing mobility solutions for low-income individuals, yet its Caremakers inclusive mobility program remains relatively unknown even after 12 years. To address this, Renault introduced a new leasing model for job seekers in remote areas, where payments begin only after the probation period is passed. If the probation is not passed, the car can be returned to Renault. This initiative not only aids new job starters but also enhances Renault's visibility in regions where car ownership is crucial, aligning with the broader French concern for mobility issues highlighted by the 2018 ‘gilets jaunes’ protests.

Renault Group offers various vehicle leasing solutions through its CareMakers program, made possible by partnerships with social prescribers, financial institutions specializing in microcredit, and inclusive mobility organizations. Key partners include France Travail, which has supported the initiative since its inception, and organizations like Adie, Caisse d'Epargne, Parcours Confiance, and Créasol.

The CareMakers program, operational since 2012, has already benefited over 3,000 financially vulnerable individuals, helping them access vehicles crucial for employment. Statistics show significant positive impacts on job retention and acquisition, with 94% of beneficiaries finding or maintaining employment and a 2.5-fold increase in permanent contracts. The program also improves vehicle reliability and safety, drastically reducing fears of mechanical failures, unexpected repair bills, and accidents.

Eligibility for CareMakers requires residency in metropolitan France, a professional mobility need, and a reference tax income of 14,000 euros or less per unit. Applications can be submitted through the program's website, whether for new or used vehicle purchase or lease, or for maintenance services at discounted rates from over 300 affiliated garages.

Renault is furthering its commitment with the "Voitures de future fonction" initiative, allowing trial-period employees to start vehicle payments from the fourth month, providing additional job security.

AWARDS
Cannes Lions 2024
- Creative Commerce Grand Prix
- Sustainable Development Goals Grand Prix
- Gold in Creative Business Transformation
- Gold in Direct
- Silver in Brand Experience & Activation
- Silver in Creative Strategy

CREDITS
Brand: Renault, France.
Global Chief Marketing Officer: Arnaud Belloni.
VP Renault Brand Content Creation: Laurent Aliphat.
VP Creative Marketing: Claudine Borel.

Creative Agency: Publicis Conseil.
CEO: Agathe Bousquet.
CEO/CCE: Marco Venturelli.
Executive Creative Directors: Romulus Petcan, Gabriel Gherca.
Copywriter: Guillaume Sabbagh.
Art Director: Marie Donnedieu.
Account Managers: Hugues Reboul, Gaëlle Morvan, Laurent Enet.
Strategic Planning: Philippe Martin-Davies, Donya Bouzarjomehri, Kayla Shenassa.
Digital Project Director: Chloé Frappereau.
Head of Production: Caroline Petrucelli.
TV Producer: Benjamin Auberdiac.

CeraVe - Michael CeraVe (case study)

LLLLITL 2024-06-05 | How did CeraVe – a skincare brand developed by dermatologists – win the Super Bowl? By re-writing the Big Game Playbook. We spread a month-long conspiracy theory: that CeraVe was developed by Michael Cera. 450 influencers made it viral, resulting in 15.4B earned impressions BEFORE the "Perfect" (TODAY) commercial revealed the truth. The #1 SB campaign (Forbes, Adweek, AdAge, GQ) led to +25% sales.

"Michael CeraVe" is a first-of-its-kind immersive campaign that invites everyone to participate in a memorable prank-like experience, only to be debunked on America’s biggest stage – the Super Bowl – by CeraVe’s dermatologists. The three-week campaign took people on a journey from “CeraVe, developed by Michael Cera” to “CeraVe, developed with dermatologists.”

The intricately developed integrated campaign was executed across earned, paid and owned channels, including social media and influencers. In the days leading up to the Big Game, Cera went toe-to-toe with dermatologists and revealed his own Michael CeraVe commercial to ‘prove’ he’s the master behind CeraVe. The truth came out during the Super Bowl-aired TV commercial, with Cera’s claims debunked by a boardroom of CeraVe dermatologists.

AWARDS
Cannes Lions 2024
- Social & Influencer Grand Prix
- Gold and Silver in Health & Wellness
- Gold and Silver in Media
- Gold and Silver in Social & Influencer
- Bronze in Entertainment
- Bronze in Film
- Bronze in PR
- Shortlisted in the Dan Wieden Titanium category

Clio Health Awards 2024
- Creative Effectiveness Grand Prix
- Film Grand Prix
- Integrated Grand Prix
- Partnerships & Collaborations Grand Prix

D&AD 2024
- Gold in Media (Social)
- 2 Gold in PR (Integrated and Use of Talent & Influencers)
- Silver in Media (Integrated)
- Silver in Digital & Social (Use of Talent & Influencers)
- Bronze in PR (Digital & Social)

One Show 2024
- 4 Gold in Integrated
- Gold and Silver in Influencer Marketing
- Gold and Bronze in Innovation
- Gold in Social Channel
- Gold in Social Media Post
- Silver in Social Media
- Silver in use of Humor
- Silver in Non-Traditional and Guerrilla Marketing
- Bronze in TV, VOD, Online

CREDITS
Brand: CeraVe.
Creative Agency: Ogilvy PR, New York.
Production Company: PRETTYBIRD Culver City.
Associate Design Director: Christina Hillman.
Chief Creative Officer: Samira Ansari.
Chief Creative Officer North America: Chris Beresford-Hill.
Content Creator: Allison MacIntosh.
Creative: Rachel Frederick.
Creative Director: Alex Holm; Avi Steinbach.
Director: Eric Wareheim; Tim Heidecker.
Editor: Ian Mackenzie.
Experience Designer: Catalina Vela.
Global Chief Creative Officer: Juliana Richter; Liz Taylor.
Group Executive Producer: Marisa Bursteen.
Head of Production: George Sholley; Jessica Nugent.
Lead Influencer Manager: Ansley Williams.
Senior Art Director: Frans Ahlberg.
Senior Copywriter: Aron Ramstedt.
Senior Producer: Regan Wallace.
Social Creative: Victoria Treble.
Music Supervision: Leland Music.
Social Agency: BPCM; Obviously.
VFX: Blacksmith.
Account Supervisor: Sally Gibb.
Agency Project Manager: Alan Gutman.
Client Managing Director: Tina Galley.
Community Manager: Victoria Masterson.
Executive Engagement Director: Kristina Prickett.
Executive Group Account Director: Liesl Lipford.
Head of Social: Christine Cotter.
Influencer Manager: Sherri Schubert; Olivia Prendergast; Yasmin Koo.
Operations Director: Lisa Boyd.
Planner: Carlos Dorenbaum.
PR Account Supervisor: Mia Kain.
President: Charlotte Tansill; Darla Price.
Senior Analyst: Sakshi Kabra.
Senior Data Strategist: Diana Budman.
Senior Social Strategist: Ben Greengrass.
Senior Vice President: Stefanie Schmit.
Social Media Specialist: Grace Fertenbaugh.
Vice President: Vanessa Legutko.
Media Agency: BCL.

DP World - The Move to -15°C (case study)

LLLLITL 2024-06-05 | The Move to -15°C initiative was designed to unite stakeholders at every stage of the cold chain to change the standard temperature of global frozen food, accelerating decarbonization and building resilience for the world’s future food needs, without compromising food safety or quality.

CHALLENGE
Container shipping ensures equal access to food worldwide but comes with an environmental cost. DP World wanted a sustainability campaign that showed action, to increase trust amongst B2B stakeholders.
For the last century, we have shipped frozen food worldwide at the globally recognized standard temperature of -18 degrees Celsius. Every degree has significant impact on global warming. Together with DP World, we asked a potentially world-changing question: does the freezing temperature have to be that cold?
After months of research with independent academics we arrived at a ground-breaking answer: A temperature change of three degrees wouldn’t harm the food inside the shipping containers, but for the world outside would be transformative, promising energy savings of 25 terawatt-hours and 17.7M tons of carbon annually.
We called our initiative The Move to -15° and shifted focus onto how we could enlist businesses throughout the global cold chain to adopt the transformative change.

STRATEGY
Competitors had to become partners. After ensuring we had robust data showing that a temperature change of three degrees wouldn’t harm the frozen food, we focused our strategy on turning competitors to allies and encouraging everyone to move from -18°C to -15°C, for the sake of our planet.
It was vital to ensure that DP World’s findings and carbon-saving approach could be embraced by the whole industry, so we homed in on our target audience — global companies within the cold chain shipping industry.
We selected an unbranded neutral name, The Move to -15° and created campaign assets that could be perceived as neutral and were therefore adoptable by competitors. Neutral industry expert, Thomas Eskesen, with 40 years’ experience at some of our biggest competitors was engaged to galvanize support from industry stakeholders. We launched at COP28, the world’s most important event for industry collaboration for the greater good.

EXECUTION
Before COP28, we published a comprehensive report, where we shared our research openly and freely with all our competitors. During COP28, we launched a 360 campaign with film and visual assets. We hosted an -15°C event at the DPW House where the academics shared more about their research. A panel discussion was had with key members of industry discussing the Coalition’s potential, and Maha Al Qattan, Chief Sustainability Officer at DP World, took part in a Q&A about it.
An open letter to urge companies to join our initiative. A dedicated microsite with our hero video, academic report, infographic and key messaging put the idea out to the world and content was shared on the social media channels of key DPW stakeholders, supported by paid campaigns on LinkedIn. A press release went out to UAE, international and trade media announcing the research findings and our launching of the Coalition to start the move to -15°C.

OUTCOME
We successfully challenged an industry standard that had reigned for about 100 years. 60% of the global shipping container industry has signed up to our initiative, along with more global companies, including 17 of the world’s biggest food producers, refrigeration companies, haulers and warehouses. We achieved 4.4M views, organic and paid, for our hero film.
Trust for DP World went up with 11% after the campaign, measured by their year-on-year brand tracking from Brand Finance. This made it the most trusted brand within their competitor set. The initiative received positive news coverage in key global business media, including Forbes, Bloomberg, Yahoo Finance and the campaign landed strongly with the trade and sector media, including specialist sector publications Cold Chain News, The Lode Star, The Grocer, Just Food and more.
Helle Thorning Schmidt, the former Prime Minister of Denmark, said: “It’s powerful to see competitors come together on something momentous, which doesn’t require new tech, just collaboration.”

AWARDS
Cannes Lions 2024
- Titanium Lion
- Gold in Creative B2B
- Gold in Sustainable Development Goals

CREDITS
Brand: DP World.
Creative Agency: Edelman, Dubai.

Puck (Arla) - Selfless Shelves (case study)

LLLLITL 2024-06-05 | Lebanon's economic crisis has led to a 63% increase in unemployment among women, pushing many to make and sell mouneh, traditional handmade preserved foods, to sustain themselves. Recognizing their struggle, Puck repurposed its iconic blue-lidded cream cheese jars, inviting these women to package their homemade goods in sanitized jars.

The women signed their jars, which were then distributed in supermarkets and on e-commerce platforms, using Puck’s own shelf space. This initiative not only supported their small businesses but also highlighted their resilience. The stories of five of these remarkable women were captured in webisodes, showcasing their journey towards economic independence. Through this campaign, Puck is not just reusing jars, but also empowering Lebanese women in their pursuit of financial stability.

AWARDS
Cannes Lions 2024
- Bronze in Creative Commerce
- Shortlisted in the Dan Wieden Titanium category

D&AD 2024
- Bronze in Commerce (Inclusive)

CREDITS
Brand: Puck, Arla Foods.
Creative Agency: FP7 McCann, Dubai.
Production Company: Craft UAE, Très Content.

Channel Manager: Fady Abdallah.
Creative Excellence Manager, Europe & UK: Alice Reindlova.
Digital Acquisition Specialist: Obada Alkassab.
Digital Marketing Specialist: Lea Kerdy.
Global Product Excellence Director: Carmem Bistrian.
Head of Sustainability and Corporate Affairs: Sarah Issam Kanaan.
Regional Director, Commercial Excellence: Hassan Naja.
Sales Manager: Dany Saab.
Senior Director, Media Investments: Ihab Halawy.
Senior Manager, Creative Excellence: Lara De Souza.
Web Manager: Farah Shrouf.
Art Director: Choi Co, Nada Selim.
Associate Creative Director: Aliza Siddiqi.
Chief Creative Officer: Federico Fanti.
Chief Creative Officer, Global Markets: Javier Campopiano.
Colour Grader: Chris Habbaki.
Copywriter: Adham Elkhosht.
Creative Director: Bana Salah.
Director of Photography: Marcos Cardoso.
Executive Creative Director: Aunindo Sen, Karim Kazan.
Global Director of Creative Excellence: Adrian Botan.
Graphic Designer: Justinas Stepanovas.
Head of Media: Ghida Batal.
Head of Post Production: Lina Nasr.
Head of Production: Amin Soltani.
Junior Designer: Jasurbek Sodikov, Vikram Ajay.
Motion Graphics Designer: Aashim Kadayikkal.
Post Producer: Sanya Sequira.
PR Managing Director: Peter Jacob.
Senior Art Director: Francesco Negri, Shaza Yousef.
Senior Copywriter: Liam Galt.
Senior Editor: Deydson Rocha.
Account Executive: Giorgio Balaa.
Associate Media Director: Michael Khleif.
Category Services Manager: Yahia Adel.
Digital Planner: Nada Sameh.
Group Account Director: Hadi Abu Khuzam, Sana Omran.
Group Managing Director: Tarek Ali Ahmad.
Head of Strategy: Mario Morby.
Marketing Lead: Eliane El.
Marketing Vice President: Mahitab Hamed.
Media Manager: Atieh Malkawi.
Media Planner: Oussama Boufakhredine.
Media Specialist: Apple Pascual, Aston Furtado, Jefferson Endozo.
PR Executive: Aastha Chaurasia, Umar Gulamnabi.
PR Senior Manager: Jude Lahham.
Producer: Christel Sater.
Senior Account Executive: Priyal Chadha.
Senior Account Manager: Jessica Barcham.
Senior Brand Manager: Ghida Amhaz.
Strategy Manager: Rifaat Fakih, Yasmina Raydan.

Xbox - The Everyday Tactician (case study)

LLLLITL 2024-06-04 | Xbox's longform documentary showcases the merging of real and virtual worlds as Bromley FC recruits a new management team member through the popular Football Manager game.

In a room full of football fans, everyone thinks they can out-manage the professionals. This concept is the foundation of the campaign, where Wembley Tour Guide Nathan Owolabi lands a job as Bromley's new tactician after demonstrating his gaming prowess and achieving the Championes milestone in FM24, earning him a five-month contract with the club.

The three-part series, with the above film being part one, airs on TNT Sports and follows Nathan's journey. It highlights a novel approach to talent acquisition by hiring from an untapped talent pool: gamers. "The Everyday Tactician" is, according to its creators, a genuine opportunity for Owolabi rather than a mere marketing stunt. He becomes an integral part of Bromley FC's backroom staff, working full-time under manager Andy Woodman.

“Nathan brings a deep understanding of FM24 to the pitch," said Mohan Gehlot, Xbox’s Senior Global Product Manager. "He knows what's required and is eager to learn and engage with new processes – it’s fantastic.”

“We aim to create ideas that push boundaries," said Laurence Thomson, Chief Creative Officer at McCann London. "Exploring untapped talent from the virtual to the real world benefits both the gaming and sports industries. More than just a launch campaign for FM24, this is a real job with real lives and competitive sport, along with a broadcast partnership. The brilliance of this campaign lies in its integration with FM24. We congratulate Nathan for his success and the partnership team for embracing such an ambitious idea. We eagerly anticipate the lasting impact of initiatives like this. Come on Nathan! We’re rooting for you, and come on Bromley!”

“Nathan has been great,” added Bromley FC's Woodman. "He's integrated well with our staff and shown a strong work ethic. He's learning on the job, which is crucial, and he might even claim our successes are due to his efforts! Joking aside, he's been a pleasure to work with. The project brings another perspective and a different approach. Nathan has embraced the opportunity and genuinely added value to our team.”

AWARDS
Cannes Lions 2024
- Direct Grand Prix
- Entertainment For Gaming Grand Prix
- Titanium Lion
- Gold in Brand Experience & Activation
- Gold in Entertainment For Gaming
- Silver in Creative Data
- Silver in Entertainment Lions for Sport
- Silver in PR

CREDITS
Brand: Xbox, Microsoft.
Senior Global Product Manager: Mohan Gehlot.

Creative Agency: McCann, London.
Chief Creative Officers: Javier Campopiano, Rob Doubal, Laurence Thomson.
Executive Creative Director: Regan Warner.
Creative Directors: Jacob Björdal, Jim Nilsson, Jamie Mietz, Sanjiv Mistry.
Creatives: Elliot Lee, Rory Peyton-Jones.
Design Director: Max Henderson.
Designers: Lexie Hoskins, Lisa Carrana.
Planning Director: JJ Bender.
Planner: Alex Passingham.

Production Companies: Craft, Clockwork, Lowkey Films, Exell.
Directors: Josh Exell, Luke Exell.
Music and Sound Company: Wave Studios.

Tottus - The Gift Card of Life (case study)

LLLLITL 2024-06-04 | In a bid to democratize access to essential healthcare, Peruvian supermarket chain Tottus has introduced a new offering for breast cancer awareness month: mammograms for PEN 99 (USD 26/EUR 24). This price significantly undercuts the fees commonly charged by private clinics, which serve as alternatives to public healthcare providers with months-long waiting times.

The purchase process is as straightforward as buying groceries. Customers pick up a mammogram voucher card from designated stores, pay at the checkout, and then schedule an appointment with the screening provider Clínica Internacional. The offer is available through December 15, 2023, and includes results and screening images on a CD, which will be provided three business days after the exam. This initiative was developed by McCann Lima.

Pink candles, pink chocolate, pink sweaters, pink cans of baked beans—every October, brands pile on the pink for breast cancer awareness. While some genuinely support breast cancer research and patients, others are driven by sales or publicity. Consumers are aware of this trend; a February 2023 Ipsos survey revealed that 65% of US respondents believe too many businesses use the language of social purpose without committing to real change.

Tottus, however, is making a concrete difference by selling mammogram vouchers in its stores. When planning a Breast Cancer Awareness campaign or any other social impact program, it’s crucial to ensure your initiative isn't self-serving or merely a revenue opportunity. Ask yourself: Is your brand genuinely adding value to the cause it aims to support? Can you leverage your sales or logistics channels to make an immediate, practical difference?

By offering affordable mammograms, Tottus not only raises awareness but also provides a vital health service to its community. This initiative stands out as an example of how businesses can use their resources to contribute meaningfully to important causes. Through this program, Tottus demonstrates a commitment to social responsibility, helping to remove financial barriers to essential healthcare and supporting early detection of breast cancer.

AWARDS
Cannes Lions 2024
- Shortlisted in the Dan Wieden Titanium category

CREDITS
Brand: Tottus supermarkets, Peru.
Creative Agency: McCann Lima, Peru.

Laut Gegen Nazis - Rights Against the Right (case study)

LLLLITL 2024-06-04 | For too long, the Nazi scene has been using codes and abbreviations to bypass bans and spread their racist ideology. They codified "HAKENKREUZ" (Swastika) into "HKNKRZ", “HITLER” into “HTLR” and "VATERLAND" (Fatherland) into “VTRLND”. A big problem! These codes, printed on shirts and merchandise, are the main source of income for right-wing organisations. And a way to spread their racist believes.

Where lawmakers had been incapable of acting with bans, we found a legal hack for our client and NGO Laut gegen Nazis. It put an end to the spread of Nazi codes for the first time ever: by using trademark law. The campaign, which outsmarts Nazis, has been a phenomenal success for the NGO: Gaining global press coverage and more than 2.2 billion media impressions without any media budget.

We’ve come up with a world first approach to stop the spread of Nazi codes once and for all. We secured the trademark rights for the best-selling German and international Nazi-Codes at the European Trademark office. As the rightful owners of these trademarked codes, we can force Nazi shops to destroy the merch bearing these codes. And even claim compensation for each sale.

The campaign garnered a 2.2 billion media reach without any media budget. The trending number-one news podcast “Apokalypse & Filterkaffee” dedicated an episode. Major German news outlets like Süddeutsche Zeitung, SPIEGEL, STERN, and ZDF reported and published articles. Our idea spread rapidly in Germany and globally.

The campaign played a crucial role in reshaping public perception of hateful Nazi messages. Prompted by the numerous articles, we saw a staggering 630% increase in searches related to the NGO and Nazi Codes. We reached over 117 million users online. Donations increased massively by 687%, while donations in Germany in general have dropped by over 30%.

AWARDS
Cannes Lions 2024
- Silver in Direct
- Silver in Creative Strategy
- Bronze in Brand Experience & Activation
- Bronze in PR
- Bronze in Sustainable Development Goals
- Shortlisted in the Dan Wieden Titanium category

CREDITS
Brand: Laut gegen Nazis.
Advertising Agency: Jung von Matt AG, Hamburg.
Design Agency: Jung von Matt AG, Hamburg.
Production Companies: 02100 Digital, Redgert Comms, Sehsucht Berlin.
Agency Producer: Julia Cramer.
Art Directors: Carina Hoffmann, Dennis Mayerhöffer, Dijk Maarten, Lena Pitzl, Svenja Jelen.
Artists: Anne Dolkemeyer, Philipp Brates, Quinten Delahaye.
Copywriters: Andreas Stanitzek, Christian Zschunke, Daniel Antonius, Katharina Boll, Leo Romanski, Leon Novakovic, Luisa Eesmann, Saskia Kretzschmann.
Creative Directors: Christian Woelky, Sarah Buggle.
Director of Development: Cedrik Dudek.
Executive Creative Directors: Jan Harbeck, Simon Knittel.
Motion Designer: Bruno Terenzi.
Videographer: Özden Uzun.
Web Developer: Sergio Gancedo.
Agency Project Managers: Clarissa Nagel, Katja Saupe, Laurina Pettke.
Communications Strategy Director: Dominic Bueker.
Data Strategist: Maik Knackstedt.
PR Account Executive: Tilmann Rohlf.
PR Executive: Stanij Wicaz.
Producer: Markus Trautmann.
Senior Project Manager: Julian Schnute.

Google Android - iPager (case study)

LLLLITL 2024-06-04 | iPager was an Android campaign with the goal of educating consumers and flipping the narrative around the ‘green bubbles’ in the U.S. by pressuring Apple to adopt RCS, the modern industry standard for text messaging.

Apple uses old SMS tech when texting with Android – instead of RCS, which is adopted by every other operating system - creating a lot of messaging issues, including pixelated media, lack of encryption, no reactions and more; and branding those issues Android’s fault with green text bubbles. To educate people and pressure Apple, we created the iPager: a real device that exposes the outdated messaging tech that Apple still uses.

AWARDS
Cannes Lions 2024
- Silver and Bronze in Brand Experience & Activation
- Shortlisted in the Dan Wieden Titanium category

CREDITS
Brand: Google Android, Mountain View.
Creative Agency: DAVID, Miami.
Design Agency: Masters & Savant.
Production Company: Masters & Savant.
Countries: South Africa, United States.

JCDecaux - Meet Marina Prieto (case study)

LLLLITL 2024-06-04 | A few months ago, Madrid woke up with a question: who is Marina Prieto? That's what thousands of Spaniards asked when they came across the photos of a 100-year-old in Madrid's subway stations. Overnight, Marina's Instagram photos of her watering her plants, eating churros, or taking a nap filled the hundreds of advertising spaces in the capital. People started searching for her, discussing her on social media and even taking selfies with the photos. The question on every Spaniard's mind was: who is this lady, and how had she ended up there?

We used the hundreds of unused spaces to share all of the Marina Prieto’s 54 Instagram Posts. The entire Metro was filled with her: going for a walk, sunbathing in the garden or taking a nap. Just her photos: not a single logo nor CTA inviting to follow her. We just waited. And it was such a success that within a few hours, social media was flooded with this question: Who is Marina Prieto and why is she everywhere? Then, after weeks of expectation, we revealed the big mystery at the Spanish Effie Awards.

"A couple of months ago, JCDecaux challenged us to use their media to show that outdoor advertising has great potential. So we set out to make someone who barely had any followers, become known throughout the country. In that search, we found the profile of Marina Prieto, a 100-year-old grandmother from Galicia whose life and stories deserved to be seen by many more people." Saulo Rocha, Chief Creative Officer of DAVID Madrid.

"Nowadays, anyone can become an influencer, but not everyone is capable of transmitting a substantial and inspiring message to society. We wanted to demonstrate the potential and effectiveness of outdoor media through transformative action, and when DAVID discovered Marina, it was immediately clear to us that she was a voice worth amplifying." Ricardo Pérez Valcárcel, Marketing Director at JCDecaux Spain.

AWARDS
Cannes Lions 2024
- Creative B2B Grand Prix
- Titanium Lion
- Gold in Outdoor
- Silver and Bronze in Social & Influencer
- Bronze in Creative B2B
- Shortlisted in the Dan Wieden Titanium category

D&AD 2024
- Silver in Media (Use of Micro-Talent & Influencers)
- Bronze in Digital & Social (Integrated)
- Bronze in Direct (Press & Outdoor)

CREDITS
Brand: JCDecaux Spain, Madrid.
General Director Spain and Portugal: Carlos Barón.
Marketing Director Spain: Ricardo Pérez Valcárcel.
Deputy Marketing Director Spain: Yolanda García Botella.

Creative Agency: DAVID Madrid.
Art Director: Curro Prieto, Giulia Ferrarezi.
Camera Operator: Jose Luis Aguilar.
Chief Creative Officer: Saulo Rocha.
Copywriter: Clara García Alfaro, Jaime Ludeña Díaz.
Creative Director: Jose Sancho.
Creative Producer: Amalia Cano, fernando garcía-patos.
Director of Photography: Jose Luis Aguilar.
Editor: Cristian Migueliz Fuente.
Executive Director: Federico Calderón.
Global Chief Creative Officer: Pancho Cassis.
Head of Post Production: Manuel Gavilan.
Head of Production: Alejandro Falduti.
Post Production Manager: Miguel Mateos.
Film Production: FAR.MEDIA.
Music & Sound Production: The Lobby.
Post Production Company: deSeif.
Account Executive: Jesús Merino Sánchez.
Account Supervisor: Sebastian Gancarz.
Brand Campaigns Coordinator: Irene Moreno de la Gándara.
Chief Operating Officer: Sylvia Panico.
Head of Accounts: Lucila Mengide.
Managing Director: María García Herranz.
PR Director: Sandra Azedo.
PR Manager: Isabel Amaro.
Producer: Santi Lardin.

Touch - EQL Band (case study)

LLLLITL 2024-05-22 | EQL Band aims to silence green light bias in smartwatches with the power of sound. Building on years of clinical equality advocacy, FCB Health New York, an IPG Health Company, created EQL Band – an innovative prototype for the world’s first smartwatch band that uses sound smart technology to accurately hear all heartbeats equally, regardless of skin tone.

In partnership with Touch, The Black Breast Cancer Alliance – a leading health equity advocacy organization with initiatives like #BlackDataMatters and When We Trial campaigns – FCB Health New York is calling on the tech industry and smartwatch manufacturers to join the fight for equal health data.

More than 70 million Americans rely on smartwatches to track their health and use the data generated to inform lifestyle and treatment decisions. But what if that health data isn’t accurate for everyone? Recent studies have shown that the green light technology used in smartwatches inaccurately reads heart rates in people with darker skin tones, which ultimately results in people of color left behind, delayed treatment and diagnosis, and lost lives.

“People of color have a long history of being overlooked in clinical settings, and despite incredible technological advancements over time, it’s still happening in many ways today. This includes smartwatch technology, which has been shown to provide inaccurate health data for people with darker skin tones,” said Sommer Bazuro, PhD, Chief Medical Officer at IPG Health. “People use that data to make lifestyle decisions. That flawed data is fed into databases that inform long-term, and often life-saving treatment decisions. It’s used in clinical trials which fuel medical innovations and treatment choices of tomorrow. The scale and impact of this health data bias is enormous.”

AWARDS
D&AD 2024
- Future White Pencil

CREDITS
Brand: Touch, the Black Breast Cancer Alliance.
Creative Agency: FCB Health New York, an IPG Health Company.
Chief Creative Officer: Kathleen Nanda.
Chief Medical Officer: Sommer Bazuro.
Director, Corporate Communications and PR: Chido Tsemunhu.
Senior Creative Engineer: Alexis Moses.
Creative Engineer: Joe Theoharakis.
SVP, Director, Creative Engineering: Joseph Graiff.
SVP, Creative Director: Bibi Brink.
SVP, Creative Director: Lisa Lim.
VP, Creative Director: Yzabelle Munson.
Senior Integrated Designer: Everett Aldritch.
Senior Copywriter: Natalie Nascenzi.
Designer: Franky Zhang.
Designer: Pedro RicciGama.
Global Executive Creative Director: Shaheed Peera.
EVP, Executive Creative Director: Bryan Gaffin.
SVP, Group Creative Director of Craft & Art: Erico Braga.
Executive Producer: Andrew Pearson.
VP, Executive Producer: Dorothy Saint Jean.
Editor, Motion Graphics Artist: James Towning.

Red Cross x Filsa Water - Filter Caps (case study) D&AD White Pencil 2024

LLLLITL 2024-05-22 | Filter Caps is a solution for the world's water crisis; it transforms the cap of a PET bottle into a complete water filtration station. This groundbreaking invention offers an accessible and portable way to purify water, making it especially useful in areas where clean water is scarce or unavailable. By simply attaching the Filter Cap to a standard PET bottle, users can have access to safe drinking water, thus reducing the risk of waterborne diseases and improving overall health and well-being in affected communities.

The simplicity and effectiveness of Filter Caps make it a vital tool in humanitarian efforts and disaster relief situations. Its compact design allows for easy transportation and distribution, ensuring that even the most remote and underserved populations can benefit from clean water. The technology behind Filter Caps not only provides a practical solution but also promotes environmental sustainability by encouraging the reuse of plastic bottles.

AWARDS
Cannes Lions 2024
- Gold in Sustainable Development Goals
- Bronze in Brand Experience & Activation
- Shortlisted in the Innovation category

D&AD 2024
- Future White Pencil

CREDITS
Brands: Red Cross, Colombian Red Cross, Filsa Water, Baylor International.
Creative Agency: Ogilvy Colombia.
Global Chief Creative Officer: Liz Taylor.
Deputy Chief Creative Officer Worldwide: Joe Sciarrotta.
Latam Chief Creative Officer: Keka Morelle.
Latam Chief Strategy Officer: Thais Frazao.
Latam Chief Communications Officer: Marina Piacentini.
Latam Director of Creative Excellence: Adriana Weinberg.
CEO Colombia: Fabio Quiroga.
VP Creative Colombia: Gastón Potasz.
ECD: Jacint Sotorra, Amir Torres.
Creative Directors: Daniel Puentes, Cristhian Arboleda.
VP Planning: Julio César Herazo.
Planning: Andrealucia Gonzalez.
Account Director: Marcela Giraldo.
Project Manager: María José Caicedo.
Project Industrial Designer Lead: Omar Marroquín.
Motion Graphics: Juan David Acosta, Jesús Quiroz, Laura Castro.
Art Directors: Nestor Valderrama, Andrés Cardona.
Copywriters: Frank Saenz.
Social Media: Camila Castro, Santiago Peña.
Production Company: Primo, Gina Medina.
RTV Executive Production Director: Gala Vence.
Executive Producer: Rosario Carvajal, Daniela Rubio.
Photographer: Nicolas Fernández.

AIZOME - AIZOME Ultra (case study)

LLLLITL 2024-05-22 | An innovative method to create textiles with lasting health benefits. Welcome to the future of sustainable fashion, where AIZOME ULTRA™ is transforming the way we think about textile dyeing. As consumers increasingly seek eco-friendly and health-conscious choices, AIZOME ULTRA™ stands out as a pioneering solution. This innovative dyeing method, harnessing the power of ultrasonic technology, offers a compelling blend of environmental responsibility and superior quality. Beyond its technical marvel, AIZOME ULTRA™ represents a significant step forward in ethical fashion, aligning with the values of today's conscious consumers.

As we look towards a future where sustainability and ethical practices are at the forefront of consumer choices, AIZOME ULTRA™ stands out as a beacon of innovation in the textile industry. This groundbreaking ultrasonic dyeing technology represents more than just an advancement in textile processing; it embodies a commitment to environmental stewardship, health consciousness, and superior quality.

Choosing AIZOME ULTRA™ dyed products is a powerful statement. It's a choice that supports the preservation of our planet's resources, advocates for safer and more sustainable fashion, and embraces products that last longer and impact the environment less. The journey towards a greener, more conscious fashion industry is well underway, with AIZOME ULTRA™ leading the charge.

AWARDS
Clio Health Awards 2024
- Innovation Grand Prix

D&AD 2024
- Impact White Pencil
- Bronze in Product Design

ADC 2024
- Apparel Grand Prix

Eurobest 2023
- Innovation Grand Prix

CREDITS
Brand: AIZOME.
Founder & CEO: Michel May.
Founder & COO: Misa May.
Outreach & Partnership Management: Megan Powers.
Design & Development: Oliver Thellmann.

Creative Agency: Serviceplan Germany.
Global Chief Creative Officer: Alex Schill / Serviceplan Group.
Copywriter: Shruthi Subramanian.
Art Director: Camille Nizet, Tanvi Phalak, Rohil Borole, Kai West Schlosser.
Executive Creative Director: Lorenz Langgartner, Franz Röppischer.
Creative Director Video: Dennis Fritz.
Copywriter: Sandra Valencia.
Creative Intern: Ana Madalena Marques, Rafter Manguiat, Flavia Conti, Katie Eugster, Ani Barbakadze, Thomas Disanzo, Nareg Boyadjian.
Junior Motion Designer: Margarita Nikolajeva.
Junior Art Director: Michał Kuśmierz.
Senior Motion Designer: Gergely Kozma.
Director Fundings and Partnerships: Ivana Radovanovic.

Creative Agency: Hakuhodo.
Copywriter: Taro Taniwaki.
Creative Director: Naho Kosukegawa.

Production Company: Off Studios.
Creative Producer: Kevin Riedl.
Producer: Simon Mairhofer.
DoP: Lucas Bergmüller.
Audio: Benedikt Dorn.

Web Development: Astral Kreativ.
CEO: Johannes Auffermann.
Executive Creative Director Digital: Hagen Fiedler.
Tech Lead Digital: Malte Bender.
Senior Developer: Timm Reiter, Stefan Schröder.
Designer: Arlinda Shabani, Andrea Da Silva.
Motion Design: Nicolai Kovacs.

Post Production Company: nhb Next.
Post Producer: Felicitas Stahnke.
Colorist: Mike Friedlande.
Director/Cinematographer: Tom Kubik.
Composer: Benjamin Gebert.

Dove - The Cost of Beauty (case study)

LLLLITL 2024-05-20 | Kids are experiencing severe mental health issues from the onslaught of seemingly endless toxic beauty content on social media. Anxiety, depression, self-harm, eating disorders, PTSD, and even suicide - the harm social media can cause has no limits. Because neither does social media. In fact, the majority of young girls say they feel the pressure to look perfect and match what they see on social media. Our brief was twofold: first, highlight the scale of the social media-induced mental health crisis among kids; and second, inspire the world to act, demand change, and save kids from the dire consequences of toxic beauty content. Our goal was to mobilize the masses by creating a single, shareable film and get viewers to sign the petition to support the Kids Online Safety Act. Dove surpassed its goal of 50,000 petition signatures for the Kids Online Safety Act, resulting in the bill passing in the Senate.

3 in 5 kids experience mental health issues from social media. So, we told the story of Mary; a real girl who almost lost her life from an eating disorder. However, we didn’t need to shoot her story, Mary already had. Using her own photos, videos, and journal entries, spanning over a decade, we created a film that shows her downward spiral after getting her first phone and joining social media. Set to an emotional female cover of Joe Cocker’s ‘You Are So Beautiful to Me,’ we see how quickly social media shapes Mary’s view of her own beauty, causing her mental health to severely struggle. At the end, we learn this isn’t just Mary’s story. It’s the story of millions of girls. The film concludes with a rallying call for people to sign the petition in support of the Kids Online Safety Act.

AWARDS
Cannes Lions 2024
- Silver and Bronze in PR
- Silver and Bronze in Creative Strategy
- Bronze in Media

Clio Health Awards 2024
- Film Grand Prix

D&AD 2024
- Silver and Bronze in Film
- Silver in Casting
- Bronze in Digital & Social
- Bronze in Health & Wellbeing

One Show 2024
- Health & Wellness Grand Prix
- Gold, Silver in Social Media
- 2 Gold, Silver in Health & Wellness
- 2 Gold, Silver in Moving Image Craft & Production
- Silver, Bronze in Public Relations
- Bronze in Film & Video

CREDITS
Brand: Dove.
Creative Agencies: Ogilvy London and Ogilvy Toronto.
Media Agency: Mindshare, New York.
PR / Marketing Agency: Edelman NY, New York.
Production Company: Smuggler, London.
Post Production Company: Significant Others, New York.
Editorial Company: Final Cut NY, New York.
Music Company: Big Sync Music, London.
Sound Design Company: Machine / New York.

Art Director: Luke Woodard Morgan Starr.
Chief Creative Officer: Francesco Grandi.
Chief Strategy Officer: Lindsey Gonnella.
Copywriter: Luke Woodard Morgan Starr.
Creative Director: Luke Woodard Morgan Starr.
Director: Henry-Alex Rubin.
Director of Photography: David Devlin.
Executive Creative Director: Daniel Fisher.
Music Supervisor: Alexandra Carlsson Norlin.
Photographer: Ale Burset.
Chief Marketing Officer, Dove: Alessandro Manfredi.
Creative Director - Coffee & TV: Steve Waugh.
Executive Creative Director - Significant Others: Dirk Greene.
Executive Producer - Color Collective: Claudia Guevara.
Executive Producer - Final Cut NY: Sarah Roebuck.
Executive Producer - Genuine Real People: Jennifer Kitchin.
Executive Producer - Machine: Matej Oreskovic.
Executive Producer - Significant Others: Alyssa St. Vincent.
Executive Producer - Smuggler LA: Drew Santarsiero.
Global Executive Creative Director (Unilever) & Special Projects: Daniel Fisher.
Head of Design - Significant Others: Phil Brooks.
Managing Director/Executive Producer: Fergus Brown.
Senior Designer: Laurence Blake.
Assistant Editor: Chris Rizzo Micah Chase.
Retoucher: Eduardo Navarro.
Wardrobe: Callan Stokes.
1st Assistant Director: Ed Walsh.
2D Artist: Jess Gorick Mark Fowler.
Additional Editor: Patrick Colman.
Additional Music: Patrick Burniston.
Agent: Lorenzo Uras.
Assistant Colorist: Javiera Ergas.
Assistant Producer: George Ward Lynsie Roberts.
Audio Assistant: Chas Langston.
CGI Artist: Adam Lindsey Ben Cantor.
Co-Editor: Ashley Kreamer Jim Helton.
Co-Founder: Brian Carmody Patrick Milling-Smith.
Deputy Head of TV: Chris Chapman.
Digital Account Manager: Olivia White.
Founder/CEO, National Alliance for Eating Disorders: Johanna Kandel.
Global Account Director: Teigan Henry.
Global Account Manager: Natasha Wijeweera.
Global Brand Director, Dove Masterbrand: Pau Bartoli.
Global Client Lead: Jo Bacon.
Global Client Partner: Lucy Tone-McGurk.
Global Managing Partner: Doug le Patourel.
Global Marketing Manager, Dove Masterbrand: Alix Colin.
Global Vice President, Dove Masterbrand & Skin Care: Leandro Barreto.
Head of Integrated Production: James Brook-Partridge.
Head of Production - Final Cut NY: Penny Ensley.
Head of Production - Genuine Real People: Gina Liotti.
Lead Flame: Phil Apostol.
Lead Senior Film Producer: Amanda Kresge.
Licensed Clinical Mental Health Counselor: Dani Bryant.
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