THIS UNEXPECTEDLY DIVERSE CATEGORY RANGES FROM AUTOMOBILES TO BEAUTY, TREASURE TO TRASH.
Chic sportswear brand Lacoste proved its durability by taking the top slot with the admired Save Our Species campaign from BETC, which replaced the iconic crocodile with silhouettes of endangered animals. Talking of chic, McCann Paris scored a hit with Vogue’s ‘non-issue’ created by and for women over 50, a protest against age-ism in the fashion industry. Luxury cars nudged into the line-up, but fashion and beauty ruled, with Diesel taking no less than three slots. Abetted by Publicis, the Italian brand is enjoying a run of creativity that recalls the time it won Advertiser of the Year at Cannes, way back in 1998. Meanwhile, the talented folk at Shiseido’s in-house division proved skilled in both film and print, with the romantic ‘Party Bus’ and the graphic ‘Red and Black’. Last but not least, kudos to Ogilvy Paris and quirky fragrance brand Etat Libre d’Orange, who co-created the first perfume made from…trash. Nevertheless, it’s the sweet smell of success.
Chic sportswear brand Lacoste proved its durability by taking the top slot with the admired Save Our Species campaign from BETC, which replaced the iconic crocodile with silhouettes of endangered animals. Talking of chic, McCann Paris scored a hit with Vogue’s ‘non-issue’ created by and for women over 50, a protest against age-ism in the fashion industry. Luxury cars nudged into the line-up, but fashion and beauty ruled, with Diesel taking no less than three slots. Abetted by Publicis, the Italian brand is enjoying a run of creativity that recalls the time it won Advertiser of the Year at Cannes, way back in 1998. Meanwhile, the talented folk at Shiseido’s in-house division proved skilled in both film and print, with the romantic ‘Party Bus’ and the graphic ‘Red and Black’. Last but not least, kudos to Ogilvy Paris and quirky fragrance brand Etat Libre d’Orange, who co-created the first perfume made from…trash. Nevertheless, it’s the sweet smell of success.
Most awarded
campaigns, brands &
agencies in
Luxury in
2019
Most awarded
campaigns, brands and
agencies in
Luxury in
2019
CAMPAIGNS
BRANDS
| Brand | ||
|---|---|---|
| 1 |  |
Diesel |
| 2 |  |
Lacoste |
| 3 |  |
Mercedes-Benz |
| 4 |  |
L'Oréal |
| 5 |  |
BMW |
AGENCIES
| Name | ||
|---|---|---|
| 1 |  |
Publicis Italy, Milan |
| 2 |  |
BETC Paris, Pantin |
| 3 |  |
antoni GmbH, Berlin |
| 4 |  |
McCann Paris, Neuilly sur Cedex |
| 5 |  |
SHISEIDO CO., LTD., Tokyo |
Watch
1. Lacoste / Save our Species
| Titolo | Save our Species |
| Brief | Lacoste replaced its famous crocodile logo with images of endangered species on a series of 1175 limited-edition polo shirts. It was a first in the brand's 85-year history. The number of shirts bearing each design reflected the rarity of the creature: there were only 30 shirts featuring the Vaquita porpoise, for example. All the shirts sold out - and the Save Our Species project got worldwide press coverage for the International Union for Conservation of Nature. For this ingenious campaign, Lacoste replaced its iconic crocodile logo with endangered species on a series of limited edition shirts. In fact, each shirt was limited to the number of surviving animals within the species concerned. Less rare were the number of news articles generated by the campaign for the International Union for Conservation of Nature. Lacoste replaced its iconic crocodile logo with endangered species in a campaign that raised awareness of the International Union for Conservation of Nature, not to mention the plight of rare animals. When Lacoste replaced its famous crocodile logo with images of endangered species on a series of limited-edition polo shirts - a first in the brand's 85-year history - the media couldn't get enough of the idea. Suddenly the French brand was all over the global press, as was the International Union for Conservation of Nature. Save Our Species was a brave move from Lacoste, which replaced its familiar crocodile on a series of limited edition shirts to raise awareness of the plight of endangered species. It was a first in the brand's 85-year history and a rare example of a fashion brand daring to play with its logo. |
| Agenzia | BETC Paris |
| Campagna | Save Our Species |
| Cliente | Lacoste |
| Marca | Lacoste |
| Posted | Agosto 2018 |
| Settore | Abbigliamento |
| Trama | Few brands benefit from such a famous logo. This is why we suggested that Lacoste turn this icon into a megaphone drawing public attention to threatened animals in the wild. An initiative that appeared natural to a brand showcasing a crocodile and which had already been involved in the “Save your Logo” programme a few years ago.;To make it happen, we needed an expert partner to work with. The choice came naturally to the International Union for Conservation of Nature (IUCN) which has been the global authority on the status of the natural world and the measures needed to safeguard it for the past 70 years.;Our objective besides financial support for the association was to raise awareness and give visibility to their Save our Species programme in order to support their action on the ground. |
| Tipo di Media | Case Study |
| Lunghezza | |
| Più informazioni | https://www.lovethework.com/entries/497627 |
| Creative Director | Antoine Choque |
| Copywriter | Céline Mazza |
| Copywriter | Olivier Aumard |
| Art Director | Jonathan Baudet-Botella |
| Art Director | Asela Botella |
| Casa di Produzione | ALLSO (Paris) |
| Production Company Producer | Franck Annese |
| Agency Producer | Karine Manzic |
| Executive Creative Director | Rémi Babinet |
| Advertising Manager | Sandrine Conseiller |
| Advertising Manager | Felipe Oliveira Baptista |
| Advertising Manager | Mylène Atlan |
| Advertising Manager | Stéphanie Tournier |
| Account Manager | Bertille Toledano |
| Account Manager | Fanny Buisseret |
| Account Manager | Benjamin Veaute |
| Art Director Assistant | Benoît Ferran |
| Strategic Planner | Céline Mazza |
| Geronimo | |
| Strategy Director | Julien Leveque |
| Music | Demon |
| CCO | Rémi Babinet |
| Creative Director | Antoine Choque |
| Copywriter | Céline Mazza, Olivier Aumard |
| Art Director | Jonathan Baudet-Botella |
| AD Assistant | Benoît Ferran |
| Strategic Planner | Céline Mazza |
| Head of Activation Strategy | Julien Levêque |
| Producer | Karine Manzic |
| Production Company | ALLSO |
| Brand Management | Sandrine Conseiller, Felipe Oliveira Baptista, Mylène Atlan, Stéphanie Tournier |
| Agency Management | Bertille Toledano, Fanny Buisseret, Benjamin Veaute |
| Producer | Franck Annese |
| Entrant Company | BETC |
| Idea Creation | BETC |
| Production | ALLSO |
2. L’Oreal & British Vogue / The Non-Issue
| Titolo | The Non-Issue |
| Brief | One fashion magazine has always set the agenda: Vogue. L’Oreal Paris persuaded British Vogue to launch “The Non-Issue”. The magazine was classic Vogue, except its 80 pages were dedicated to women over 50. From actresses Jane Fonda and Helen Mirren to journalist Christiane Amanpour and comedienne Jennifer Saunders; every editorial, fashion shoot and advertisement challenged ageist stereotypes. Because age should be a "non-issue". The Vogue "non-issue" outsold the one featuring Rihanna on the cover. |
| Agenzia | McCann Paris |
| Campagna | The Non-Issue |
| Cliente | Groupe l’Oréal |
| Marca | L’Oreal & British Vogue |
| Posted | Novembre 2019 |
| Settore | Cosmetica, Prodotti di bellezza, Profumi |
| Trama | One magazine has always set that agenda; Vogue. The rule maker.L’oreal Paris persuaded British Vogue to launch “The Non-Issue” in the belief that age should not be an issue.It’s everything you expect from Vogue, only its 80 pages are dedicated to representing women over 50. From Jane Fonda and Helen Mirren, to the acclaimed correspondent Christiane Amanpour and talented comedienne Jennifer Saunders. Every editorial, fashion shoot and every single piece of advertising challenges ageist stereotypes and positively shapes our perception of age.Results:40, 000 new readers in just 2 weeks.90% positive social mentions of L’Oreal Paris.19 Million organic reach.More coverage than Vogue’s most successful September Issue featuring Rihanna. |
| Problema | The fashion and beauty industries remain mostly youth-obsessed. Age discrimination in 2019 is still a problem. Nowhere is this age agenda more apparent than in magazines. It’s little wonder so many women of 50+ feel overlooked and invisible. |
| Tipo di Media | Case Study |
| Agency | McCann London |
| Executive Creative Director | Julien Calot |
| Creative Director | Regan Warner |
| Executive Creative Director | Robert Brown |
| Integrated Creative Director | Chad Warner |
| President / Executive Creative Director | Riccardo Fregoso |
| Creative President | Adrian Botan |
| Beauty Team President | Charlotte Franceries |
| President & Chief Creative Officer | Laurence Thomson |
| President & Chief Creative Officer | Rob Doubal |
| Creative Excellence Manager | Carmen Bistrian |
| Head of Social Media | Pierre-Jean Bernard |
| Global Account Director | Muriel Lapeyre |
| Global Planning Director | Clement Fiorda |
| Chief Strategy Officer | Harjot Singh |
| Chief Production Officer | Sergio Lopez |
| Planning Partner | Rose Van Orden |
| Junior Planner | Joy Molan |
| Managing Partner | Alison Webber |
| Senior Account Manager | Beth Kodjer |
| Project Director | Louise Hawthornthwaite |
| Producer | Serena Moll |
| Director | Ben Twiston Davies |
| Editor | Matt Dollings |
| Editor | Sabina Dalu |
| Art Director | Adrien Simonnet |
| Art Director Assistant | Valentin Crespo |
| Global Brand President | Pierre-Emmanuel Angeloglou |
| Managing Director | Adrien Koskas |
| General Manager | Karen Jones |
| Creative Strategy | Ginevra Capece Galeota |
| AR/VR Business Development Facebook | Christopher Price |
3. Mercedes-Benz / Bertha Benz: The Journey That Changed Everything
| Titolo | Bertha Benz: The Journey That Changed Everything |
| Agenzia | antoni GmbH |
| Campagna | Bertha Benz: The Journey That Changed Everything |
| Cliente | Daimler AG |
| Marca | Mercedes-Benz |
| Data di Prima Diffusione/Publicazione | 2019 / 3 |
| Settore | Automobili/Motoveicoli |
| Slogan | She believed in more than a car. She believed in herself |
| Trama | To prove that her husband’s invention was the future of mobility, Bertha Benz went on the first long-distance journey in an automobile. 131 years later, she was celebrated in a short film launched on International Women’s Day. We see Bertha driving her "horseless carriage" into a fearful town, where a pharmacy that sells "ligroin" petroleum unwittingly becomes the world's first gas station. After overcoming the scepticism of onlookers, and especially the contempt of the menfolk, she motors triumphantly away. |
| Tipo di Media | Web Film |
| Lunghezza | |
| Editing Company | Trim Editing |
| Advertising Manager | Damir Maric |
| Advertising Manager | Boris Daimler AG |
| Advertising Manager | Boris Helms |
| Advertising Manager | Daniel Ritsch |
| Managing Director | Sven Dörrenbächer |
| Managing Director | Matthias Schmidt |
| Managing Director | Jörg Schultheis |
| Executive Creative Director | Marcell Franke |
| Executive Creative Director | Veit Moeller |
| Executive Creative Director | Tilman Gossner |
| Creative Director | Alice Bottaro |
| Copywriter | Andre Santa Cruz |
| Strategist | Alicia Gaworska |
| Casa di Produzione | Anorak Film |
| Director | Sebastian Strasser |
| Managing Director | Christiane Dressler |
| Executive Producer | Christoph Petzenhauser |
| Producer | Christoph Petzenhauser |
| Production Company Producer | Björn Levy-Krüger |
| Direttore della fotografia | Justin Brown |
| Production Designer | Robin Brown |
| Editor | Thomas Grove-Carter |
| Sound Design Company | Slaughterhouse GmbH |
| Music Composer | Steffen Thum |
| Music Composer | Lorne BalfeHelms |
| Music Composer | Daniel Ritsch |
| Production Company Producer | Björn Levy-Krüger |
4. Diesel / Ha(u)te Couture
| Titolo | Ha(u)te Couture |
| Agenzia | Publicis Italy |
| Campagna | Ha̶u̶te Couture FW18 |
| Cliente | Diesel |
| Marca | Diesel |
| Data di Prima Diffusione/Publicazione | 2018 / 9 |
| Settore | Abbigliamento, Moda, Calzature |
| Trama | This film much more than a fashion film. It’s something that could create a lasting cultural impact by literally spinning the language of abusers into words that can empower. Obviously, ‘I Wanna be Loved by You’ is a tongue-in-cheek, ironic take on the central premise of the campaign - It’s not about being loved, it’s about turning hate against the perpetrators. What we loved about the Calypso style was that it celebrated - to an extreme - the liberation of acceptance. |
| Tipo di Media | Social Media |
| Lunghezza | |
| Casa di Produzione | Stink Films |
| Footage | The Mill New York |
| Post Produzione | MPC LDN |
| Global Chief Creative Officer | Bruno Bertelli |
| Chief Executive Officer (CEO) | Bruno Bertelli |
| Chief Creative Officer | Cristiana Boccassini |
| Creative Director | Thiago Cruz |
| Creative Director | Mihnea Gheorghiu |
| Associate Creative Director | Simone Di Laus |
| Copywriter | James Andrews |
| Art Director | Alex Eftimie |
| Copywriter | Anton Michael Kuerschner |
| Head Of Planning | Bela Ziemann |
| Strategic Planner | Monica Radulescu |
| Head of Production | Francesca Zazzera |
| Producer | Marijana Vukomanovic |
| Art Buyer | Caterina Collesano |
| Designer | Gianluca Chinnici |
| Client Services Director | Eleni Charakleia |
| Client Services Director | Barbara Pusca |
| Account Supervisor | Filippo D’Andrea |
| Head of Social Media | Stefano Perazzo |
| Social Media Manager | Doina Tatu |
| Director | Jovan Todorovic |
| Executive Producer | Blake Powell |
| Production Company Producer | Natalie Jacobson |
| Direttore della fotografia | Christophe Collette |
| Photographer | Vitali Gelwich |
| Editor | Milena Petrovic |
| Colorist | Mikey Rossiter |
| Post Produzione | Ryan Hancocks |
| Music | Sizzer |
| Music Supervision | Michael Bertoldini |
5. Mercedes-Benz GLE / In the Long Run
| Titolo | In the Long Run |
| Agenzia | antoni GmbH |
| Campagna | In the Long Run |
| Cliente | Daimler AG |
| Marca | Mercedes-Benz GLE |
| Data di Prima Diffusione/Publicazione | 2018 / 12 |
| Settore | Auto Nuove |
| Trama | We meet a woman who's an accomplished athlete, although she seems to have suffered an injury in the past. On the day before her biggest event, a triathlon, her daughter refuses to come and watch her. As we see the woman going through her paces, the film intercuts with scenes of the little girl at home, looking at old cuttings and photos. Abruptly she changes her mind and calls her dad, who speeds to collect her in the family Mercedes. They arrive just in time to meet mum by the finishing line, where there's an emotional twist. |
| Tipo di Media | Web Film |
| Lunghezza | |
| Colonna sonora | Cold Little Heart |
| Advertising Manager | Natanael Sijanta |
| Advertising Manager | Damir Maric |
| Advertising Manager | Kai Köpf |
| Advertising Manager | Stefan Brommer |
| Copywriter | Matti Lietsch |
| Art Director | Mathias Wilke |
| Strategist | Andreas Moellmann |
| Strategist | Stephanie Dzionara |
| Strategist | Sebastian Lyman |
| Production Company Producer | Sebastiaan Peters |
| Executive Creative Director | Veit Moeller |
| Creative Director | Christian Kies |
| Creative Director | Christopher Hoene |
| Creative Director | Patrick Klebba |
| Creative Managing Director | Matthias Schmidt |
| Account Director | Rebecca Sander-Ott |
| Account Director | Steffen Günther |
| Client Services Director | Steffen Schuhmann |
| Managing Director | Jörg Schultheis |
| Casa di Produzione | Iconoclast Germany |
| Executive Producer | Jan Dressler |
| Director | Niclas Larsson |
| Direttore della fotografia | Linus Sandgren |
| Production Company Producer | Jan Dressler |
| Editing Company | Slaughterhouse GmbH |
| Music Production | Interscrope |
| Christian Mix-linzer | |
| Steve Bartlik | |
| Music Composer | Michael Kiwanuka |
| Music Composer | Dean Josiah Cover |
| Music Composer | Brian Burton |
| MUSIC Artist | Michael Kiwanuka |
6. Diesel / SIDE:BIZ
| Titolo | SIDE:BIZ |
| Agenzia | Publicis Italy |
| Campagna | BE A FOLLOWER |
| Cliente | Diesel |
| Marca | Diesel |
| Data di Prima Diffusione/Publicazione | 2019 / 2 |
| Settore | Abbigliamento, Moda, Calzature |
| Filosofia | IS DIESEL UNLEASHING SOCIAL MEDIA’S REAL INFLUENCERS? With an ironic flip, Diesel empowers the internet’s followers and fans with SIDE:BIZ As an extension of its new Spring 2019 campaign, BE A FOLLOWER, Diesel is now empowering social media’s followers with the benefits and rewards one might expect to be exclusive to influencers. And how exactly is Diesel doing this? With a smart new platform called SIDE:BIZ. SIDE:BIZ is an innovative approach to e-commerce that allows for any Diesel follower to open their very own Diesel digital shop. Under the program, anyone can become a Diesel Ambassador and earn rewards. SIDE:BIZ is Diesel’s way of celebrating the followers, putting them first, and unleashing their full social media potential by equipping them with the tools needed to live successfully on their own terms. It’s simple: no pressure, no contracts, no proof of influence needed. To start a SIDE:BIZ, you just need to go to diesel.com/baf/sidebiz; sign up; receive a unique e-commerce link; and then share it, post it, text it and email it to everyone you know. Every time someone shops through your unique link, you earn rewards. Depending on where you live, these rewards vary from discounts and free products, to one-of-a-kind experiences. SIDE:BIZ will be available in Europe from February 15, in North America from February 18, in Japan from February 22, and it will be launching in China in March. With SIDE:BIZ, and the entire Spring/Summer ‘19 campaign, Diesel doesn’t just aim to show the world that life is easier as a follower. It also lauds the fact that followers are the social users that matter the most. |
| Tipo di Media | Interattivo |
| Market | Stati Uniti, Cina, Giappone |
| CEO Publicis Italia & Global CCO Publicis WW | Bruno Bertelli |
| CCO | Cristiana Boccassini |
| Creative Director | Thiago Cruz |
| Creative Director | Mihnea Gheorghiu |
| Creative Supervisor | Costanza Rossi |
| Digital Creative Director | Sandra Bold |
| Creative Director and Head of Social Media | Marco Viganò |
| Associate Creative Director | Vinicius Dalvi |
| Associate Creative Director | Eddy Guimaraes |
| Copywriter | James Andrews |
| Art Director | Cecilia Moro |
| Art Director | Alice Teruzzi |
| Copywriter | Francesca Ferracini |
| Art Director | Alex Eftimie |
| Copywriter | Anton M. Kuerschner |
| Client Service Director | Eleni Charakleia |
| Digital Account Director | Ilaria Castiglioni |
| Account Director | Filippo D’Andrea |
| Strategic Planner | Monica Radulescu |
| Head of Social Client Services & Strategy | Stefano Perazzo |
| Social Media Manager | Doina Tatu |
| Social Media Manager | Filippo Festuccia |
| Creative development & photography | Toilet Paper |
| Casa di Produzione | Collateral - The Storytellers |
| Post Produzione | Martin&Rainone |
| Stylist | Marc Goehring |
7. Shiseido / The Party Bus
| Titolo | The Party Bus |
| Agenzia | Shiseido Creative Division |
| Campagna | The Party Bus |
| Cliente | Shiseido |
| Marca | Shiseido |
| Data di Prima Diffusione/Publicazione | 2018 / 10 |
| Settore | Trucco |
| Slogan | Make Up your own story |
| Trama | A costume party is in full flow on a bus rolling through the night. A girl disguised as Princess Kaguya is torn between her jealous boyfriend and a mysterious suitor. Finally she makes a decision, and jumps off the bus to join her new lover. Containing elements of drama, animation and dance, the extraordinary fairy tale is an ode to the power of make-up. |
| Tipo di Media | Web Film |
| Lunghezza | |
| Market | Giappone |
| Director | Show Yanagisawa |
| Creative Director | Masoto Kosakawa |
| Casa di Produzione | Towerfilm |
| Post Production | Digital Eggs |
| Post Production | My Working |
8. Mercedes-Benz / Return to Chapman's Peak
| Titolo | Return to Chapman's Peak |
| Agenzia | Net#work BBDO |
| Campagna | Return to Chapman's Peak |
| Cliente | Daimler AG |
| Marca | Mercedes-Benz |
| Data di Prima Diffusione/Publicazione | 2018 / 5 |
| Settore | Auto Nuove |
| Trama | Legendary South African crash survivor revisits site of 30 story plunge in autonomous S-Class. |
| Tipo di Media | Web Film |
| Lunghezza | |
| Art Director | Steven Tyler |
| Agency Producer | Lee-Ann Jacobs |
| Image Design | Ryan Paikin |
| Advertising Manager | Selvin Govender |
| Chief Creative Officer | Mike Schalit |
| Cinematografia | Lorens Van Rensburg |
| Creative Director | Tim Beckerling |
| Director | Lourens Van Rensburg |
| Editor | James O'Sullivan |
| Executive Creative Director | Brad Reilly |
| Casa di Produzione | 7Flims |
| Music | Audio Militia |
| Post Produzione | Ludus |
| Production Company Producer | Nina van Rensburg |
9. Diesel / Influencers cannot travel light
| Titolo | Influencers cannot travel light |
| Agenzia | Publicis Italy |
| Campagna | Be A Follower. Spring/Summer 2019 |
| Cliente | Diesel |
| Marca | Diesel |
| Data di Prima Diffusione/Publicazione | 2019 / 2 |
| Settore | Abbigliamento |
| Tipo di Media | Web Film |
| Lunghezza | |
| Grading/Online | MPC LDN |
| Advertising Manager | Tania Dal Pra |
| Advertising Manager | Francesca Zazzera |
| Copywriter | Francesca Ferracini |
| Art Director | Cecilia Moro |
| Art Director | Alice Teruzzi |
| Chief Creative Officer | Cristiana Boccassini |
| Creative Director | Thiago Cruz |
| Creative Director | Mihnea Gheorghiu |
| Creative Director | Marco Viganò |
| Art Buyer | Caterina Collesano |
| Copywriter | James Andrews |
| Creative Supervisor | Costanza Rossi |
| Associate Creative Director | Vinicius Dalvi |
| Associate Creative Director | Eddy Guimaraes |
| Account Director | Ilaria Castiglioni |
| Account Director | Filippo D’Andrea |
| Social Media Manager | Doina Tatu |
| Social Media Manager | Filippo Festuccia |
| Social Media Manager | Head of Social |
| Client Services Director | Eleni Charakleia |
| Strategist | Monica Radulescu |
| Art Director | Alex Eftimie |
| Copywriter | Anton M. Kuerschner |
| Digital Creative Director | Sandra Bold |
| Chief Executive Officer / Partner | Bruno Bertelli |
| Casa di Produzione | Good People |
| Director | Ali Ali |
| Director | Ahmed Tahoun |
| Direttore della fotografia | Pierre Mouarkech |
| Production Company Producer | Chantal El Haber |
| Production Company Producer | Karim Osman |
| Executive Producer | Sabine Farah |
| Executive Producer | Khaled Zaki |
| Editor | Neda Ahmed |
| Editor | Tommaso Bianchi |
| Colorist | Leianna Campbell |
| Post Production | Adolfo Navire |
| Grading/Online | Richard Fearon |
| Music Supervision | Sizzer |
| Executive Producer | Seppl Kretz |
| Executive Producer | Michiel Marsman |
| Michael Bertoldini |
10. Shiseido / Black and Red
| Titolo | Black and Red |
| Agenzia | SHISEIDO CO., LTD. |
| Campagna | Makeup Tools |
| Cliente | Shiseido |
| Marca | Shiseido |
| Posted | Mag 2019 |
| Settore | Cosmetica, Prodotti di bellezza, Profumi |
| Tipo di Media | Stampa e stampati |
| Design Agency | SHISEIDO CO., LTD. |
| Art Director | Masaki Hanahara |
| Creative Director | Masaki Hanahara |
| Photographer | Shotaro Ito |
11. Les Fleurs du Déchet / I AM TRASH / Les Fleurs du Déchet
| Titolo | I AM TRASH / Les Fleurs du Déchet |
| Agenzia | Ogilvy Paris |
| Campagna | I AM TRASH / Les Fleurs du Déchet |
| Cliente | Etat Libre d'Orange |
| Marca | Les Fleurs du Déchet |
| Data di Prima Diffusione/Publicazione | 2018 / 4 |
| Settore | Cosmetica, Prodotti di bellezza, Profumi |
| Tipo di Media | Interattivo |
| Lunghezza | |
| Founder | Stephen De Swardt |
| General Manager | Stephen De Swardt |
| Creative Director | Juana O'Gorman |
| Creative Director | Beatrice Lassailly |
| Copywriter | Jeremy Claud |
| Art Director | France De-Saint-Steban |
| Managing Director | Emmanuel Ferry |
| Head of Branding & Advertising | Emmanuel Ferry |
| Project Manager | Terry Fouchy |
| Production | H & O |
| Director | Inés Dieleman |
| Photographer | Inés Dieleman |
| Producer | Barthélémy de Champsavin |
| Production Manager | Maxime Gallet |
| Director | Thierry Cron |
| Photo Assistant | Thierry Cron |
| Chief Operator | François Catonné |
| OPV Assistant | Raphaël Dougé |
| Chief Electrician | Eric Baraillon |
| Production Designer | Alain Roussel |
| Trainer | Manuel Senra |
| Floral Stylist | Garance du Nord |
| General Manager | Jordan Santoul |
| Post Produzione | H & O |
| Post Produzione | Reepost |
| Post Producer | Emmanuelle Bottelin-Lescoutre |
| Publisher | Quentin Lohr |
| Calibrator | Emiliano Serantoni |
| Graphic designer | François Puget |
| Composer | Nicolas Schindler |
| Musical Supervision | Too Young Music |
12. Porsche / The 24 Minutes of Le Mans
| Titolo | The 24 Minutes of Le Mans |
| Brief | Porsche and the 24 Hours of Le Mans race go back decades. After three victories in a row, Porsche decided to bid farewell to Le Mans’ LMP1 class. A shock for petrolhead fans! So they were given the ultimate gift. The last tyres from the victorious car, the 919 Hybrid, were turned into a limited edition vinyl record. The disc itself told the story of Porsche at Le Mans: 24 stories in 24 minutes. Thanks to an auction, fans could get their hands on the first 24 copies, raising a six-figure sum for a charity working with disabled children at Le Mans. |
| Agenzia | Grabarz & Partner |
| Campagna | The 24 Minutes of Le Mans |
| Cliente | Porsche |
| Marca | Porsche |
| Posted | Novembre 2019 |
| Settore | Automobili/Motoveicoli |
| Trama | Porsche and the 24 Hours of Le Mans are a legend that goes back decades. After three overall victories in a row, Porsche decided to bid farewell to Le Mans’ LMP1 class. A shock for the true petrolhead brand fans! So we made the goodbye as epic as possible for them.We immortalized the last set of tyres of their victorious race car, the 919 Hybrid, cut them and pressed a vinyl record out of them – a unique premium collector’s item, strictly limited to 200 pieces. On the vinyl: the legendary history of Porsche at Le Mans. 24 stories in 24 symbolic minutes.Fans were able to get their hands on only the first 24 of these one-of-a-kind records. They were auctioned over 24 hours on the 24th of February, raising a six-figure sum for an organization working with disabled children at Le Mans. |
| Tipo di Media | Case Study |
| Chief Creative Officer | Ralf Heuel |
| Chief Executive Officer (CEO) | Reinhard Patzschke |
| Creative Team Lead | Ralf Nolting |
| Creative Director | Frederik Wetzel |
| Creative Director | Tim Lehnebach |
| Creative Director | Jonas Keller |
| Art Director | Felix Hoffmann |
| Art Director | Leonie Petersen |
| Art Director | Thomas Schraudolf |
| Art Director | Julia Szubrich |
| Art Director | Alessandro Perri |
| Copywriter | Oliver Weber |
| Copywriter | Andrew-Reid McEvoy |
| Copywriter | Hamza Ali |
| Copywriter | Niklas Werner |
| Copywriter | Emilie D |
| Copywriter | Clotilde Maillard |
| Copywriter | Gabriela van der Linden |
| Account Manager | Sarah Süß |
| Account Manager | Martin Schmerschneider |
| Art Buyer | Lara Kortbrae |
| Producer | Jörg Nagel |
| Graphic Designer | Thomas Schraudolf |
| Graphic Designer | Tim Lehnebach |
| Graphic Designer | Aleksandr Bobrov |
13. Oakley / It's Ok
| Titolo | It's Ok |
| Agenzia | AKQA |
| Campagna | It's Ok |
| Cliente | Luxottica Group |
| Marca | Oakley |
| Data di Prima Diffusione/Publicazione | 2018 / 4 |
| Settore | Accessori abbigliamento |
| Trama | In 2018 Oakley launched a global campaign featuring its top athletes and unknown sports addicts in their daily practice. It gets to the heart of committed athletes everywhere who are obsessed with their passion. The movie is built around an original and powerful soundtrack embodied by the amazing voice of Krystle Warren. As the film builds and evolves, so does the dramatic fusion of soul and classic big band music. |
| Tipo di Media | Web Film |
| Lunghezza | |
| Creative Director | Peter Lund |
| Creative Director | Nicolai Smith |
| Agency Producer | Quentin Bernard |
| Casa di Produzione | Wanda Paris |
| Director | Michael Lawrence |
| Direttore della fotografia | Michael Lawrence |
| Executive Producer | Olivier Dubocage |
| Executive Producer | Romain Cavagnac |
| Line Producer | Thierry Betas |
| Post Production | Thomas Cornet |
| Editor | Nicolas Larrouquere |
| Colorist | Tom Poole |
| Compositor | Gregory Caron |
| Compositor | Hannes de Maeyer |
| Singer | Krystle Warren |
| Music & Sound Design | Chut On Vous Ecoute Paris |
14. BMW / City of no cars
| Titolo | City of no cars |
| Agenzia | Serviceplan Group |
| Campagna | City of no cars |
| Cliente | BMW |
| Marca | BMW |
| Data di Prima Diffusione/Publicazione | 2018 / 11 |
| Settore | Auto Nuove |
| Tipo di Media | Web Film |
| Lunghezza | |
| Market | Regno Unito |
| Casa di Produzione | Trim Editing |
| Art Director | Damian Kuczmierczyk |
| Art Director | Philipp F. Trübiger |
| Copywriter | Bastian Tripp |
| Chief Creative Officer | Alexander Schill |
| Executive Creative Director | Thomas Heyen |
| Executive Creative Director | Markus Kremer |
| Executive Creative Director | Florian Klietz |
| Executive Creative Director | Jason Romeyko |
| Creative Director | Kolja Danquah |
| Director | Kristian von Elm |
| Director | Daniel Wolfe |
| Producer | Henning Rieseweber |
| Producer | Tobias Steinhauser |
| Casa di Produzione | Anorak Film |
| Animator - Animation | Dan Williams |
| Direttore della fotografia | Monica Lenczewska |
| Direttore della fotografia | Dominic Leung |
| Music Prod Company | The Blue Nile |
| Post Produzione | The Mill London |
| Product Designer | Robin Brown |
| Creative Team | Daniel William Hill |
| Creative Team | Patrik Milani |
15. Audi A8 / Audio studio – The radio experiment
| Titolo | Audio studio – The radio experiment |
| Brief | To demonstrate the Audi A8’s perfect noise insulation, a radio commercial was recorded on the car's back seat during morning rush hour traffic. There were no special audio effects, just a voice actor and a sound engineer. The payoff came when the actor lowered the window to let the sound rush in from outside, proving his point. |
| Agenzia | Café Communications |
| Campagna | Audio studio – The radio experiment |
| Cliente | Dr. Ing. h.c. F. Porsche AG |
| Marca | Audi A8 |
| Data di Prima Diffusione/Publicazione | 2018 / 10 |
| Settore | Auto Nuove |
| Trama | To show Audi A8’s perfect noise insulation, Café Communications tested the car in real environment and recorded the radio commercial in the back seats of an Audi A8, in the morning traffic. The radio was recorded without any post audio effects, just a voice actor and a sound engineer meanwhile driving in the morning traffic for real to show the perfect sound insulation. |
| Tipo di Media | Case Study |
| Lunghezza | |
| Brand Manager | Sándor Mátrabérci |
| Marketing Manager | Norbert Farago |
| Creative Director | Dániel Csirke |
| Creative Director | Gabor Szucs |
| Head of Art | Balint Monori |
| Account Director | Renáta Balogh |
| Account Manager | Zsófia Véber |
| Copywriter | Zsolt Lázár |
| Copywriter | Dániel László Szász |
| Art Director | Sándor Szabo |
| Production Manager | Nóra Beszta |
| Production Manager | Gábor May |
| Direttore della fotografia | Márk Éry |
| Sound Engineer | Tamás Bohács |
| Sound | Post Edison |
