Cadbury took the win in the March round of Colmar Brunton’s Ad Impact Award with its animated, bicycling easter bunny. And it’s added another trophy to its cabinet with the launch ad for Mini Drops taking September’s title.
Browsing: Publicis Mojo
Since the closure of Publicis Mojo at the end of last year, Goodman Fielder has been working with Joy, the agency set up by ex-Mojo chair and chief executive Graeme Wills. And, according to Goodman Fielder’s PR and communications manager Ra Fletcher, it continues to do so. But it also appears to be looking at its agency options.
The closure and voluntary liquidation of Publicis Mojo that was announced just before Christmas last year came as a shock—to the employees, to Mojo clients and to the industry as a whole. And in his many years in the ad business Graeme Wills, the ex-chairman of Publicis Mojo Australia and New Zealand and head of new agency Joy, claims he’s never seen a company behave as unprofessionally, nastily and cynically as Publicis Groupe has during this saga.
First it was Droga5, and now, in the classic ‘Christmas dump’, where bad news is saved up for when everyone’s focusing on some well-earned festive cheer, it was announced yesterday that Publicis Mojo’s time in New Zealand is also up. It will be replaced by a new agency called Joy in the new year.
Ze Germans have created an extremely valuable country brand based around reliability, precision and quality design and engineering, which has certainly helped the likes of VW, Audi, BMW and Mercedes-Benz conquer the world’s roads. But Sweden is trying to find its niche, and in New Zealand it’s doing it with a ballsy new campaign for the new Volvo V40 hatchback that takes aim at the established German car brands and taps into the desire to be ‘Über Different’.
Publicis Mojo’s Spread the Warmth campaign for the Auckland City Mission Winter Appeal, which pitted Auckland neighbourhoods against each other to see who was the most generous, has won the IABNZ Online Creative Award for August 2012.
As the bean counters might say, if advertising doesn’t improve the bottom line, it’s really just art. And expensive art at that. And the agencies that improved their clients’ businesses the most this year have been announced, with perennial Effie performers Colenso BBDO and DraftFCB on top with 22 and 16 finalists respectively, followed by the bolter Barnes, Catmur & Friends on ten and DDB on nine.
Tile Warehouse opened its doors in 1989 with two staff and a forklift. 23 years later the company has over 100 staff, 28 stores around the country and now a shiny new brand courtesy of Publicis Mojo to “celebrate being New Zealand’s market leader”.
Babyboomers are often portrayed as greedy, BMW-driving, house-hogging, tax avoiding luddites. But they also use the internet, have Facebook pages and watch YouTube. So why should they miss out on all the viral marketing fun? As no one was really catering to them specifically in this area, Publicis Mojo Auckland, Goodman Fielder Australia’s Lawson’s bread and The Down Low Concept have tried to fill the gap with a light-hearted look at that particular life-stage, with self-help tips delivered by one of the statesmen of Australian comedy Trevor Marmalade.
No local acts made the shortlist for the design lions, not even Alt Group’s well-received Auckland Art gallery identity, but a rightful grand prix winner emerged: Serviceplan Munich for its solar powered report for Austria Solar. The two local radio shortlistings—Saatchi & Saatchi for Tui’s ‘Father’s day Morse Code’ and BCG2 for Jesters pies—didn’t have anything to write home about, with Brazilian agency Talent Sao Paolo taking top prize for its ‘repellent radio’ work for Go Outside, which saw a high frequency broadcast essentially turn a radio into a mosquito repellent.
Slowly but surely New Zealand’s Cannes tally continues to rise with the announcement of the Outdoor category winners. Eight Kiwi entries made the shortlist of 588, with three taking home awards. First hat tip goes to Colenso BBDO for taking out New Zealand’s only Gold in the category, awarded for its ‘Sorry about the Twigs’, folks‘ campaign for Monteith’s Crushed Cider, adding to the gold, silver and bronze the campaign picked up in the Promo & Activation category. The agency’s ‘Skate Pinball’ campaign for Mountain Dew also nabbed a Bronze Lion.
The One Club’s Creative Week in New York has come to an end, and the world’s best creative advertising ideas have been acknowledged. But it was fairly slim pickings for the Kiwi contenders, with Colenso BBDO winning a rare Gold Pencil for the Levi’s ‘Rear View Girls’ web film at One Show Interactive and Publicis Mojo taking a Silver Pencil for the Greenpeace ‘Oil on Canvas’ campaign in the integrated branding – public service campaign category at The One Show.
Who’s it for: Cadbury by DBB and Thick as Thieves
Why we like it: A bravura canine performance, a massive purple couch and a few patriotic sporting tingles that Cadbury can bask in the reflected glow of.
Who’s it for: Hell Pizza by Barnes …
There are many differences between New Zealand and Italy. We’re more likely to have milk with our coffee, our menfolk generally only wear budgie smugglers at the beach if they’re triathletes or surf lifesavers, and our prime minister’s parties are pretty tame in comparison to Silvio’s. But as Publicis Mojo’s latest campaign for Subway’s Italiana range shows, there are a few similarities between the two laid-back countries, including a striking upside down geographical resemblance.
It might not have done as well as many expected at AXIS last night, but NZTA, Clemenger BBDO and The Sweet Shop’s ‘Legend’ well and truly made up for it by nabbing a very hard to win Yellow Pencil in the earned media section at the D&AD awards, the only New Zealand work to receive the nod this year. Legend also made it In-Book in the Writing for Advertising category.
A galaxy of stars/people with faces for radio gathered at Atico Cocina in Auckland yesterday to listen to the year’s best radio ads. And, like last year, when Murray Watt from DraftFCB took both the Grande Orca and the people’s choice awards, and the year before that, Publicis Mojo’s Hadleigh Sinclair and Jack Delmonte walked away with both prizes, a giant cheque and a trip to the Cannes Lions for a very funny Subway campaign that detailed fat-related afflictions such as double chins, cankles and bingo wings.
Hallensteins has been trying valiantly to add some coolness to the brand in recent years. And, if the much improved first half results for parent company Hallenstein Glasson are anything to go by, that approach is working. But its latest ad, The Power of the Suit, which was made by Publicis Mojo and directed by new Thick as Thieves recruit Jae Morrison, is easily its edgiest yet.
Publicis Mojo’s executive creative director woes have continued, with Mike Barnwell resigning after 15 months in the job to return to his South African homeland and take up a role as the executive creative director at DraftFCB Cape Town.
Given the commercial slant of Valentine’s Day, and the willingness consumers have to shell out for objects for the objects of affection, there’s never any shortage of interesting creative ideas clamouring for attention at this time of the year. Some of them are pretty good, most of them aren’t. But here are a couple of local examples that caught our attention.
As smartphones become more prevalent, QR codes are picking up steam and are now seen more regularly on ads, on products and even on t-shirts at festivals in Poland. Most of the time, the fairly ugly, alien-esque black and white shapes are employed to disseminate information—or offers—but there are some pretty creative options now available (Kiwi company Set QR is leading the way in this regard) and one of the coolest QR executions we’ve seen recently is this print ad for Panasonic that was made by Publicis Mojo Auckland to go on the cover of trade publication Wares Magazine.
Publicis Mojo’s latest multi-platform campaign for Greenpeace is a simple yet stunning piece of PR. It is starkly original, emotive and extremely powerful. And, with everything from pop-up art galleries to support from Radiohead, we reckon this campaign is, if you’ll excuse our Rainbow Warrior French, pretty fucking good.
Women have the ability to create fantasy, desire, life and mayhem. Some more so than others. And Publicis Mojo celebrated this power in its latest campaign for Glassons. The 60 second online film and 45 second TVC features women (one of whom some of you might remember from NZ’s Next Top Model) wearing Glassons outfits in a fantasy world of their own creation and it was shot in Auckland by Derek Henderson of Curious Ltd, and set to the Donovan track ‘Season of the witch’.
Jack Delmonte and Hadleigh Sinclair from Publicis Mojo take November’s ORCA for their ‘Low Fat’ Subway campaign, which was a real hit with the judges, and can be credited with inventing the phrase “hairy neck dumplings” as a euphemism for goatee adorned double chins.
RappTribal, part of the DDB Group NZ, win the November BollyAward for their client, SkyTV. The banner/takeover ad encouraged users to click to their hearts content with comments from the drill sergeant egging them on.
Hallensteins seems to be trying pretty hard to increase its coolness quotient. Publicis Mojo’s first ad for the mainstream clothes retailer featured a track by indie darlings Sleigh Bells (and they got in a bit of trouble for the racy lyrics) and to launch the summer 2011 range it has tapped into some Hollywood star power with the velvety voice of academy award nominee Matt Dillon and headed to Mexico City with Thick as Thieves to film the latest instalment of the Brothers campaign.