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LuerzersArchive.com
Letter from the Publisher
Dear Readers, Welcome to the final double issue of Lürzer’s Archive for 2021. From 2022, Lürzer’s Archive will be appearing quarterly. Under its new ownership – Creative Standards International – we’ll also be bringing you a brand-new website, to help you enjoy the world’s most creative campaigns even more. With all of these, somewhat overdue, changes, we’re looking forward to the new year with excitement. What won’t change is the original intent of Archive since 1984, which is to keep you up-to-date and abreast of the creative advertising – print, film and digital and trends – that you should be in the know about. Due to this issue’s publication date, you’ll also find a lot more Christmas work featured than usual. This doesn’t feel like a bad thing as seasonal advertising, especially TV spots, tend to hold quite a sway over the popular imagination for a long time – more so than campaigns at other times of the year. Of course, the best ones stay in our minds for years.
The highlights for me this year were the spot for Penny, a German chain of supermarkets and also the one for Posten, the Norwegian post office, which throws in a gay Santa – quite an achievement, if we think of the culture wars that broke out a some years ago in the US when there was suddenly a debate on Santa Claus’ race, or rather, whether Santa Claus can be depicted as a black man.
In this new issue you will find a total of 111 print campaigns, 48 films and 17 new pieces of work from the digital arena. The latter were selected by Roberto Fara, the Buenos Aires-born Chief Creative Officer at Ogilvy Spain. The main interview in this issue is with Leo Burnett London’s Creative Director, Andrew Long. Headlined, Trying to raise an already high standard. Fittingly, his Lights On campaign for McDonald’s has just received the Print Grand Prix at the Epica Awards! Hope you will find enjoyment and inspiration in our latest selection of outstanding advertising. Sincerely,
Michael Weinzettl, Publisher & Editor-in-Chief
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Interview Andrew Long, Creative Director at Leo Burnett London.
Trying to raise an already high standard. Andrew Long has been with the agency since 2017. In that time, he has become quite the star creative, particularly as a result of his work on McDonald’s UK. Michael Weinzettl talked to the creative to find out what makes him tick. Hello Andrew, I’ve been a fan of your work for McDonald’s UK for some time now. Can you tell us a bit about yourself and about your background? When did you first become interested in advertising as a career and how did that come about? Well, despite living in London [in the south of England] for the past 15 years, I’d say I still identify as a northerner. That’s where I’m from
Surfers Against Sewage, Lürzer’s Archive 5-2012.
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originally, but I have always been inspired by creativity, art and design so it was a natural progression to end up in London to pursue that. I was obsessed with TV, the type of kid who woke up at 5am to get started and I ran home from school. So, a career in that area, in some form, was always the goal. But I’m incredibly lucky to be able to say I achieved that. The thing that really influenced me and probably the reason why I do this job now, was probably the Internet. I grew up in the 90s and was at the perfect age for the start of the Internet generation. From the second I put the AOL free trial CD in my giant Hewlett Packard desktop and heard that weird 56k modem dial-up sound, I was hooked.
Interview I set up businesses, ran an imaginary wrestling promotion, wrote weird fan fiction, and countless other things from the corner of my parent’s home. Somebody gave me a copy of the first Photoshop and I would just spend hours making graphics, fake adverts, posters for all my weird Internet ventures. At the time, I probably didn’t really identify this as creativity, I was just exploring this new thing that the world had just been given access to. But looking back now, I can see that I was laying the foundation for what I do today. Was the ad business always your first career choice? I find a lot of people I work with in this industry, kind of discovered it or fell into it. That’s different to me, as I specifically remember making the choice. What’s great about advertising though, is it doesn’t really matter what your background is, everyone can come together to share ideas and make things. It’s an inspiration to be surrounded by brilliant teams from different backgrounds. From creative teams to directors, photographers and other collaborators we gather around a project. That’s what makes this such a satisfying career path. You’ve been with Leo Burnett London since 2017. What were some of the stages in your career before that? I studied creative advertising as a degree at university and the final stage for that course was a show at the D&AD New Blood event. It was literally the first time I’d ever been to London in my life, so the whole thing was incredibly exciting. We spent time chatting with people from the industry and looking at all of the great work, and when we got back to our booth, we saw there was a post-it-note left on our stand that turned out to be from Graham Fink who was ECD at M&C Saatchi at the time. Needless to say we immediately began pestering him the next day. We were on placement for over a year, working second jobs at weekends to try and make enough to pay rent. It was tough but we learned about the power of simplicity from some absolute legends, and those lessons have stuck with us since. Then we worked at MullenLowe with Dave Henderson and Rich Denney, and began to really focus on the importance of craft and presentation. You pick up these little nuggets that stick with you throughout your career, and I think they shape your overall creative identity. Here at Leo’s with Chaka [Sobhani, Leo Burnett’s Chief Creative Officer], we’ve learnt so much about populism and the importance of putting an audience first, and again, that will stick with me forever. It’s been over these past four years at Leo’s where I feel we have really begun to find our identity as creatives, and develop our own style based on the lessons we learnt over our career. We very much believe in finding simple truths that can be brought to life beautifully, no matter what the channel. Of course, we have so many ways to express our ideas now that the fun part is finding the best way to bring something to life. But it always comes back to that same principle. What were some of the challenges you faced when you became Creative Director at McDonald’s at the time? McDonald’s in the UK is pretty much acknowledged nowadays to be one of the top clients you can have. I’m so proud to have been made Creative Director of the McDonald’s brand, and even more proud of what has been achieved. It’s an incredible account full of brilliant people at the top of their game. The challenge with a brand of this scale, with a heritage of such great creative, is always in trying to raise an already high standard. The most successful awards year in McDonald’s history was 2021, including Gold Cannes Lions and D&AD Pencils, but of course we’re already thinking about how we can improve on that next year. Back at M&C Saatchi, in 2007 you did an interesting campaign for CBRE real estate, the typography of which I’ve seen copied a lot since then, especially here in Germany. They say imitation is the sincerest form of flattery but were you even aware of this at the time?
McDonald’s, Lürzer’s Archive 3-2019.
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Beverages, Non-Alcoholic
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Lürzer’s ARCHIVE 5.2111
Beverages, Non-Alcoholic
∆ TBWA\PARIS, Paris ‡ Benjamin Marchal, Faustin Claverie
Give it a try Dragonfruit-Pink Guava.
5.2112 Lürzer’s ARCHIVE
Give it a try a red ACE treatment.
∏ Pauline Sénéchault, Cyrielle Declarey ∞ Charlie Davis
∆ Demner, Merlicek & Bergmann, Vienna ‡ Alistair Thompson ∏ Martin Dorn, Daniela Sobtischka, Robin Kappacher ≥ Clemens Ascher 41
Fashion
46
Lürzer’s ARCHIVE 5.2106
Fashion
∆ ‡ ≥ ⁄ 5.2107 Lürzer’s ARCHIVE
Prada, in-house, Milan, Italy Ferdinando Verderi Adrian Mueller Leo Rocha 47
The Cresta Climate Challenge The global search for ideas to combat climate change ‘inactivism’. A free-to-enter creative challenge for students and young creatives.
Image: Damian Denis/Unsplash
OPEN FOR ENTRIES 14 JANUARY 2022
cresta-awards.com
Supported by Lürzer’s Archive
Petfood
For everything they did for you, it’s time to give it back.
5.2101 Lürzer’s ARCHIVE
∆ ‡ ∏ ∂
VCCP, Madrid Juan Cenóz, Beto Nahmad Gonzalo Rodriguez Juan Cenóz
≥ ∞ ∫ ⁄
Jesús Mellado Jesús Mellado Gonzalo Rodriguez Jesús Mellado 73
Film FASHION
FOOD
13. Burberry “Open Spaces” Produced by Riff Raff Films, this surreal take on iconic British fashion house Burberry shows four individuals floating through fields, designed to reflect a feeling of artistic freedom. In the end, the four are pulled together as they fly through the sky, further presenting the brands dedication to connectivity and teamwork.
14. McDonalds “Imaginary Iggy” Scored with a cover of Cyndi Lauper’s classic “Time After Time”, McDonald’s presents a heartwarming Christmas story. A young girl, Matilda, forms a bond with her imaginary friend Iggy. As the years pass and she grows up, Matilda forgets about her friend until the spirit of Christmas rekindles her innocence.
∆ Riff Raff, London ‡ Megaforce, Riccardo Tisci ∏ Rachel Crowther ∂ Megaforce ≤ Megaforce ± Riff Raff, London
∆ Leo Burnett, London ‡ James Millers, Andrew Long ∏ Cristina Rosique Gomez ∂ Amy Bushill ≤ Bert and Bertie
16. Chipotle “A Future Begins” Scored by a plaintive re-imagining of Coldplay’s “Fix You” by Kacey Musgraves, Chipotle has released a stop motion animation sequel to their award winning 2011 short film “Back To The Start”. Based on the lives of Chipotle farmers (and in support of the 2023 Farm Bill), the film shows a child leaving their family farm to start college. As the farm starts to decline, the child returns to introduce more sustainable farming methods (which Chipotle use in their own working practises) and saves the day.
17. Wagamama “Vegamama” A Godzilla-type monster running amok in a dystopian future setting out of a Sci-Fi thriller is easily appeased by the fast food brand’s motto that “Eating more plants can help our planet.”
∆ Observatory, Los Angeles ‡ Shelley Sheppard ∏ Gordon Allen ≤ Johnny Kelly ± Nexus Studios 154
∆ Uncommon Creative Studio, London ≤ Vedran Rupic ± Riff Raff Films
15. McDonalds Canada “Steal My Fries” In true Broadway musical style, McDonalds opens this ad with a song. After a year of being apart in isolation, the main character croons that his friend can steal his fries anytime. ∆ Cossette, Toronto ‡ Alexandre Gadoua ∏ Zuheir Kotob ∂ Jason Soy ≤ Max Sherman
18. KFC “The Fox” CCTV images of a fox trying to enter in a KFC – probably attracted by the smell of tasty chicken. “Real chicken lovers are not mistaken”. ∆ Havas Paris, Paris ‡ Christophe Coffre ∏ Matthieu Hamon ∂ Antoine Palle
Film FURNITURE
PHARMACEUTICALS & OTC
RETAILERS
19. Dunelm “Dun Your Way” The ad starts with the residents of a particularly bland city rising against the conformist media’s “Be the same” message by sprucing up their home with colorful and stylish Dunelm furnishings.
20. Durex “The Breakup” As Australia comes out of an extended lockdown, Durex advises us to “play safe” with others for those who have had to “self-care” during isolation in this tongue-in-cheek ad spot.
21. Interflora “Remember those you love” In this poignant and heart-wrenching ad spot from Danish flower delivery service Interflora, we follow the date nights at the cinema of a young couple, beginning in the 1960s. Working with agency PONG, Interflora have created a cinematic short film that reminds us why we get flowers in the first place… to remember those we love.
∆ Creature, London ‡ John Osborne, Ben Middleton, Stu Outhwaite-Noel ∏ Megan Egan ≤ Stephen Pipe ± Tantrum, London
22. Lidl “Karmarama” Lidl’s Christmas spot builds on the success of 2019 and 2020’s “Big On a Christmas You Can Believe In”. We open on a traditional Christmas lunch with all the trimmings, showcasing Lidl’s festive food range and a typical yuletide family conversation. Viewers are then taken by surprise with another scene of the same group at the Christmas table, this time set decades in the future. The next iteration shows an even more futuristic Christmas dinner.
∆ Energy Studios, Singapore ≤ André Rodrigues ± electriclimefilms
∆ PONG, Nørrebro, Denmark ‡ Mikkel Elung ∏ Sigurd Bjerre ∂ Mikkel Elung ≤ Martin Werner ± Bacon
23. Ikea “Brawn Bears” This campaign takes on the everyday challenges that stop the home from being a haven. Whether that’s work interrupting playtime or the stresses brought home from the day; IKEA’s mission is to help customers achieve the space they deserve. ∆ Mother, London ≤ Tom Noakes ± Prettybird
24. Penny Supermarkets “Mother and Son” The perfect Xmas spot for our lockdown-plagued times. A mother muses about what her adolescent son is missing out on as a result Covid measures. ∆ Serviceplan Campaign, Munich ‡ Moritz Dornig ∏ Rebecca Labiner, Elvira Breit ≤ Marcus Ibanez
∆ Karmarama, London ‡ Joe Hold, Luke Ramm ≤ Gary Freedman ± Independent Films
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