We always thought it was funny that Unilever would champion girls' self-esteem via Dove (courtesy of Ogilvy) and premit mass objectification of lusty ladies via Lynx/Axe (courtesy of Bartle Bogle Hegarty).
Boston's Campaign for a Commercial-Free Childhood is less amused.
"The hypocrisy is Dove positioning itself as a brand that cares and is trying to teach girls to resist this messaging," said associate director Josh Golin. "At the same time Unilever, in the form of Axe, is putting out some of the worst messaging there is."
Our take? Unilever's just a parent company.
Nothing rings in the holidays like the thought of wearing a new Chloe while unwrapping a golden box of truffles. Even if those truffles came from grandma, and even if you gave her the exact box two years ago.
This set of prints by Sugartown Creative is Godiva's attempt to position itself as a luxury item a la 10,000 water bottles or LV bags.
In this ad by TBWA\Chiat\Day, LA for FAO Schwarz -- er, the Visa check card, we mean, a bunch of people wander around in a toy store while juggling toys.
The ad just doesn't hit the spot.
We never really got used to the "Life takes Visa" thing. It's like a second-rate "Priceless" -- which is ironic, because Mastercard's like a second-rate Visa.
We were trying very hard to watch this Bacardi spot called Made to Mix. But the media people stuck it on Veoh and there was this interactive MarketWatch ad playing right next to it. So our eyes darted frantically back and forth and in the end we decided neither was worth much of a damn.
Dentsu, Canada put together this spot -- dubbed its "latest and greatest" -- for the Lexus H. (The H stands for "hybrid".)
You know, no one could ever accuse Lexus of being too flashy. For an upper middle class status symbol, it manages to resist the compulsion amazingly well.
Believe it or not, there are instances when associating your brand too closely to real life can hurt. This ad for Louis Vuitton is one of them. The clutter on the closely-packed desk, the slightly bent-in LV bag, the visible electrical outlets and empty glasses and open laptop, the rumpled hair and tired but sweet nuzzles -- the whole thing fills us with discomfort.
We're thinking everyday grind, exhaustion, and a longing for this brief moment in the day to last as long as possible before life calls us back to do the dishes. It's a frenetic and agonizing sensation.
What happened to soothingly ethereal Scarlett, or gangster-film angsty Gorbachev? Take us awaaaay.
We were skeptical about how many more ways Sony would be able to push its swath-everything-in-color manifesto for the Bravia campaign, but at this rate, we're pretty sure it could go on forever.
Y&R, Egypt is responsible for this pyramid and thread spot. It's appealing -- even without a Rolling Stones tune -- but it also filled us with a sense of dread. How many takes did this require? Who cleaned up all those spools?
We were actually surprised here. This spot poses as a home video taken by a proud father of his baby's first steps. If you've ever witnessed a child walk for the first time, you know what a triumphant feat it is - and that it doesn't last long.
That's the first thing that sticks out.
The kid seems to be walking for an impressively long time with the dad following closely behind, cooing in paternal awe. Then they get to the front door, and POW! -- the kid's off like a shot! Pops couldn't keep up if he wanted to. The ensuing mayhem made us LOL.
Either McDonald's gets off on the idea its golden arches could surpass sunlight, or somebody at DDB, Sydney is fucking wild about Egg McMuffins. (They are compelling sandwiches.)
Variations here and here. It's like some starry-eyed Nikon hobbyists couldn't decide which angle they loved best so they decided to pass all three favorites off as a tri-variant print campaign.
Are we supposed to compliment the photography?
Agency.com has just prepared a new online campaign for British Airways. Visit Upgrade to British Airways to get the gist.
Using both flash and HTML, users click on the logo and find themselves zooming ever nearer to teeny weeny little images that seemingly make up the bigger picture. Once you get as close as you possibly can to each element, you learn a neat little fact about the British Airways experience.
In the same way the Tin Man subsite loops after about 10,000 scenes or so, images are repeated without hurting the effort much -- meaning you could pretty much sit there clicking forever.
If Tin Man and British Airways are any indication, it seems like Ad-ville is developing a preoccupation with ... what could you call it? Immersion? Digging deep? Life in macro? Vertigo?