Clever Ideas, Great Ads

HATCH Takes ‘Eat In or Dine Out’ Behind the Camera for Season Two

noreply@blogger.com (Rey B) — Tue, 29 Sep 2026 14:14:07 +0000

HATCH is back in the kitchen for season two of its lively and candid video series, Eat In or Dine Out, which features top creative voices from across the marketing and advertising industry.

Each episode brings a marketing leader into the kitchen of Jennifer Harrington, HATCH's founder and CEO, to tackle a perennial dilemma: build an in-house team or partner with an outside agency?

(Left to Right) Victoria Griggs, Maddie Harrington, Jennifer Harrington

For episode three of season 2, Jennifer flipped the script and sits down with the team behind the show itself: Maddie Harrington, Creative Operations Manager and Agency Producer for Eat In or Dine Out, and Victoria Griggs, Executive Producer for the show and co-founder and Creative Director of Sweeter The Juice Films, a Boston-based production studio and HATCH's partner for the series.

The result is a look at what it takes to produce unscripted marketing content and what makes content work.

"It's hard to know what people are going to talk about when they come on screen," said Maddie. “It’s not scripted, so it's been a learning experience being behind the scenes and watching the conversation unfold.”

Victoria described the tabletop production puzzle of shooting in a working kitchen and noted the harder ask: getting camera-shy marketing guests to perform for the lens.

The trio also dug into a topic on every CMO's mind: what kind of content still lands. Victoria said she has grown increasingly focused on the generational divide in how audiences respond, noting that Gen Z gravitates toward user-generated, unscripted-feeling content over the polished, “bells and whistles” advertising that came before it. She pointed to a stretch of viral fashion marketing stunts that looked spontaneous but were tightly planned as an example of what she calls the “uncanny valley of advertising.”

“What people want is the story behind the actual person,” Victoria said.

Maddie and Victoria pointed to longer-form branded content, including work from Krispy Kreme and agency High Dive's campaign for KFC, as proof that giving a brand story room to breathe builds a different kind of connection than a traditional commercial does.

"A story feels very different than being sold," Victoria said. "I think longer-form content helps people create that connection."

Quenlin Blackwell (Left) inspirational cooking show (Feeding Starving Celebrities)

Jennifer credited the pair with giving the show its distinct feel on LinkedIn, where the series has built a following for standing out in a feed dominated by traditional business content.

“You can’t read your way to understanding where advertising is going,” Harrington said. “You have to sit with people who see it differently than you do, and some of them are going to be half your age. Maddie and Victoria push back on me constantly, and that is the whole point of building a team that doesn’t sound like one person.”

This episode of Eat In or Dine Out is now available on HATCH’s YouTube channel and website. Season two is in production, with new episodes and guests to be announced.

ABOUT VICTORIA ASHLY GRIGGS

Victoria Ashly Griggs is a producer, director, creative executive and co-founder of Sweeter The Juice Films. With a multidisciplinary background spanning design, photography and nearly every phase of physical production, Griggs brings both a creative and deeply production-minded perspective to her work across commercial, branded, documentary and narrative storytelling.

Her recent directing work includes projects for Roxbury Community College, Blue Cross Blue Shield and Texture Takes The Stage, where she directed a cinematic piece featuring actress and Sweet Blackberry founder Karyn Parsons exploring identity, representation and the cultural significance of natural textured hair. As Executive Producer of HATCH's Eat In or Dine Out, Griggs brings that same interest in human-centered storytelling to the branded content space, exploring how brands can build stronger connections with audiences through personality, culture and story.

Griggs' broader production experience includes work for brands and organizations including New Balance, Nespresso, Sam Adams, Hasbro, Dunkin', CVS, MBTA, Marshalls, TJ Maxx and the Massachusetts Department of Public Health, as well as entertainment and editorial projects for Hulu, MasterClass and Vogue.

Beyond her production work, Griggs serves on the board of The Secret Society of Black Creatives (SSBC), a nonprofit working to advance equity and opportunity within the creative economy. Her work both on set and within Boston's broader creative community reflects a commitment to expanding who has access to the industry, who gets to shape its stories and what those stories can look like.

ABOUT SWEETER THE JUICE FILMS

Sweeter The JuiceFilms (STJF) is a BIPOC- and woman-owned production company co-founded by Victoria Ashly Griggs and Gregory Warfield Jr. Working across commercial, branded, documentary and narrative storytelling, STJF partners with agencies, brands and organizations to bring creative concepts from development through production and post.

With roots in Boston and New England and the ability to scale for productions beyond the region, STJF combines creative development with nimble, experienced production teams built around the needs of each project. Its work is grounded in strong storytelling, collaborative production and the belief that representation behind the camera helps create richer work in front of it.

For Eat In or Dine Out, STJF serves as HATCH’s production partner, with Griggs executive producing the series and helping shape its visual language, production approach and on-screen storytelling.

ABOUT HATCH

HATCH is an independent, women-owned agency that serves growth-hungry brands a customizable combo of creative capabilities and expertly sourced marketing talent, all from one strategic partner. Because as marketing leaders flex, adjust and pivot to stretch fluctuating budgets, hit moving targets and stay ahead of the competition, they need on-demand access to both fresh creative ideas and ready-to-roll talent. HATCH clients include Peabody Essex Museum, Point32 Solutions, Hood, Quicken, and Babson College. Learn more at hatchtheagency.com.

Sir John Hegarty, Juliana Paracencio Among Speakers at ADCE Creative Week 2026

noreply@blogger.com (Gloria J) — Tue, 29 Sep 2026 12:20:00 +0000

ADCE Creative Week returns to Barcelona from 17-20 November, featuring four dynamic days of activities, including international judging, portfolio reviews, Awards Galas, and the highly anticipated ADCE Creative Leaders Summit.

Adapted from The One Club for Creativity’s long-running Executive Creative Summit, the ADCE Creative Leaders Summit is an exclusive event that brings together agency leaders, founders, and senior executives to share perspectives, navigate industry change, and explore what it takes to lead with clarity, conviction, and responsibility.

Centred on the core theme of “Relationships”, this year’s Summit looks beyond the final creative output to examine the human connections that make great ideas possible: trust between clients and agencies, chemistry within creative teams, conversations that spark new thinking, and relationships that transform bold ideas into extraordinary work.

Over two days, 16 industry leaders will take part in 13 sessions, offering candid perspectives and practical insights on the issues shaping their businesses and the wider creative industry — many extending far beyond the traditional scope of creativity.

Designed as an exclusive programme, the Summit creates a rare space for open conversation, meaningful exchange, and ideas that can be taken back to teams and organisations. A limited number of seats are available. Please visit the festival website for more details and to register.

Confirmed ADCE Creative Leaders Summit speakers include:

Sir John Hegarty - Creative Director & Co-Founder, The Business of Creativity
Juliana Paracencio - Executive Creative Director, Droga5
Dustin Duke - Global Executive Creative Director, Brand Innovation Lab at Amazon Ads
Anna Berbiela - Founding Partner, SMLXL
Guillem Casasus - Co-Founder, SMLXL
Liza Enebeis - CD and Partner, Studio Dumbar/DEPT
Sophia Lindholm - Independent Creative Leader
Tiffany Rolfe - Chair and Global Chief Creative Officer, R/GA
Pablo Widmer - Global Head of Product Design, Breitling
Laura Amarelle - Global Head of Brand Communications, Breitling
Martell Beck - Head of Marketing & PR, Deutsche Bahn
Malcolm Poynton - Former Global CCO, Cheil Worldwide
Koka Kamushadze - Managing Partner, Playmakers
Ulrich Klenke - Chief Brand Officer, Deutsche Telekom
Abel Sanchez-Hermosilla Martinez - EMEA Head of Brands Innovation, HP
Corina Alexandra Pop - EMEA Creative Services Lead, HP

The sessions will explore relationships from every angle, including client-agency dynamics, creative co-leadership, and organizational trust.

ADCE Creative Week 2026 full programme

17 November, 2026

ADCE 2026 Awards judging (not open to the public)
ADCE Creative Express, an educational initiative designed to inspire the next generation of creative talent through a collaborative international challenge.

18 November, 2026

ADCE Awards judging, final round (open to the public)
ADCE Creative Express, final presentations
Portfolio Review, connecting students and emerging creatives with representatives from 25 leading agencies for direct feedback, career advice, and insight into the industry.
ADCE Student Awards Gala

19 November, 2026

Creative Leaders Summit
The One Club AI Creative Challenge, bringing participants on stage to tackle a surprise creative brief using AI-powered tools in real time.

20 November, 2026

Creative Leaders Summit
ADCE Awards Gala & Closing Party

Additional details can be found here.

Mekanism Gives AI a Break at Advertising Week

noreply@blogger.com (Rey B) — Tue, 29 Sep 2026 02:04:58 +0000

As the advertising industry prepares for another Advertising Week dominated by conversations about artificial intelligence, Advertising Week New York 2026 is taking a decidedly different approach: give AI a break.

In partnership with Mekanism, Advertising Week New York is launching “Give AI a Break,” a playful campaign that imagines what might happen if the AI tools marketers rely on every day simply decided they had done enough.

The campaign’s centerpiece is ChatGPTO, an AI chatbot that has officially gone out of office ahead of Advertising Week New York 2026.

Ask ChatGPTO to write a launch headline, build a Q4 strategy deck or design a poster, and it refuses. Instead, its auto-reply explains that it is “out of the server” until its humans return from Advertising Week, directing visitors to go talk to a real human instead.

Join Us Human to Human

The campaign is designed to start conversations before attendees even arrive at Advertising Week.

QR codes featured directly on Advertising Week posters will send people into the ChatGPTO experience, while digital out-of-home placements will feature the message “Join Us Human to Human” alongside the QR code.

The campaign also gives some of advertising’s most familiar AI tools a playful reality check, with creative lines including:

“Firefly is totally burned out. Rekindle your own creative spark off-screen.”
“Perplexity could use some clarity. Ask the hard questions to real people live.”
“Give the GPUs a three-day weekend. Overheat your imagination at AWNY.”
“Your Co-Pilot could use more me-time. Try flying solo at AWNY.”

The campaign is part of Mekanism’s broader “Give AI a Break” initiative, rolling out ahead of and during Advertising Week through social, OOH and film.

An AI Support Group for Overworked Machines

A 60-second film created by Mekanism takes the idea even further, portraying AI models as members of an AI support group.

Watch the 60-second Mekanism film

In the film, Chad (ChatGPT), Claudette (Claude) and Jiminy (Gemini) are brought to life as exhausted, overworked characters sharing their creative grievances and war stories after being constantly asked to create, analyze and solve problems for humans.

The campaign isn't suggesting that AI is going away. Instead, it asks whether an industry that increasingly relies on AI might benefit from occasionally stepping away from the technology.

“Advertising Week has always been about bringing the industry together to exchange ideas, challenge each other and make connections that continue long after the event ends,” said Ruth Mortimer, Global President of Advertising Week. “As AI becomes an increasingly important part of our industry, creating space for those human interactions is just as important. Mekanism’s ‘Give AI a Break’ campaign captures that spirit in a way that is playful, timely, and very Advertising Week.”

Putting Human Connection Back in the Spotlight

At a time when virtually every corner of advertising is grappling with what AI means for creativity, production and the future of the industry, “Give AI a Break” uses AI as the setup for a very human message.

Rather than arguing that marketers should stop using AI, the campaign asks whether the technology has become so ubiquitous that occasionally stepping away from it can itself become creatively valuable.

“AI has become such a large part of every advertising conversation that we thought the most unexpected thing we could do at Advertising Week was give it the week off,” said Jason Harris, CEO at Mekanism. “When you’re surrounded by technology, sometimes the most interesting thing you can do is put down the screen, and talk to someone human to human.”

At an event built around the future of advertising, Advertising Week New York is making a simple invitation: give the machines a break and make some human connections.

Babysense True Sleep Review: A Baby Monitor That Goes Beyond Video

noreply@blogger.com (Rey B) — Mon, 28 Sep 2026 02:11:00 +0000

For new parents, a baby monitor can quickly become one of those nursery products that gets used every day — and night. The Babysense True Sleep takes the traditional video monitor a step further by combining HD video monitoring with non-contact breathing-movement detection.

The system pairs the Babysense 7 Movement Monitor with the HD S2 Video Baby Monitor, giving parents two ways to keep an eye on their baby while they sleep.

The Best Feature: Non-Contact Breathing Monitoring

One of the most unique feature of this package is the Babysense 7.

Instead of attaching a wearable device to your sleeping baby, Babysense uses two sensor pads that are placed underneath the mattress. The sensors are designed to detect subtle movements associated with breathing without making physical contact.

For parents who don't want their baby wearing a monitoring device, this is one of the most appealing aspects of the True Sleep system. Babysense says the sensors can alert parents if micro-movements stop for 20 seconds or if movement becomes irregular.

The Video Monitor is Another Great Feature

The HD S2 video monitor includes a 5-inch 720p HD color display, while the camera offers remote pan, tilt and zoom capabilities. It also features night vision, two-way audio, an adjustable night light, white noise, lullabies and temperature alerts.

Split-screen viewing is another useful feature. The system can support up to four cameras, allowing parents to monitor different rooms or children. Two camera feeds can be viewed side-by-side on the screen.

A Must-Have for Parents Wanting Privacy & Security

One of the most interesting things about the Babysense True Sleep is that it doesn't require Wi-Fi to work!

With no Wi-Fi setup, smartphone app or monthly subscription, the HD S2 uses a relatively secure, private FHSS wireless connection, with Babysense listing a range of up to 1,000 feet in open space.

That could appeal to parents who would rather keep their nursery monitor off the internet and away from potential hackers.

What It's Like to Use

Independent testing has also highlighted the system's everyday usability. In a 12-week Mumsnet test, the reviewer found the monitor straightforward to set up and praised its video and sound quality, signal reliability and accessible controls.

There are some practical considerations. The breathing-monitoring system requires its own battery-powered sensor unit, and positioning the sensor system correctly can take some effort.

Is Babysense True Sleep Worth Considering?

The appeal of Babysense True Sleep is that it combines non-contact breathing-movement monitoring, HD video, night vision, two-way audio, remote camera control and nursery-friendly features in one system.

Its strongest differentiator is the under-mattress movement monitoring, while the no-Wi-Fi design, dedicated parent display and multiple-camera capability add to its appeal.

For parents looking for a baby-monitoring system that goes beyond video without requiring a wearable device or internet connection, Babysense True Sleep is an option worth considering.

As with any baby monitor, it should be used as an additional monitoring tool alongside established safe-sleep practices and appropriate parental supervision.

McDonald’s and Leo UK Bring Fans their Most-Wanted with Return of ‘World Menu Heist’

noreply@blogger.com (Rey B) — Fri, 25 Sep 2026 13:54:23 +0000

Following the success of last year’s ‘World Menu Heist’, Leo UK and McDonald’s are back with an even bigger operation, bringing nine menu items from eight countries to the UK and Ireland.

First launched by Leo UK in 2025, ‘World Menu Heist’ was built on a simple fan truth: for years, McDonald’s fans had taken to social media to share their envy that some of the brand’s most-loved menu items were not available in the UK. Leo UK turned that global food FOMO into a heist, bringing international favourites home. The platform was adapted by McDonald’s markets around the world, with over fourty markets running their own heist.

This year, Leo UK and McDonald’s used social listening to identify fans’ most-wanted menu items and turn them into the targets of a new global operation. The haul features nine products from eight countries; the biggest number of new items McDonald’s UK has launched within a single campaign. These include Germany’s Big Rösti, Canada’s Maple & Cheddar Chicken and China’s Szechuan Sauce.

The campaign is fuelled by creators acting as ‘the insiders’ and amplified by partners acting as ‘the reporters’, letting fans participate in the heist through classified intel, creator content and real-time updates. From launch, a LADbible partnership will see a former detective analyse the hero film for clues about the heist.

Inspired by classic heist films, the campaign unfolds across five stages: Plan, Execute, Plot Twist, Execute and Dispose. It follows the McDonald’s crew as they track down fans’ most-wanted products, steal them from around the world and bring them home.

The campaign launches with the first of two 30-second hero films created by Leo UK on 22 September. The first spot follows the crew securing and transporting McDonald’s goods from around the globe before a golden McDonald’s parachute carries the haul to safety. The film is supported by 10-second spots and dedicated McDelivery creative. The second 30-second film will follow the ‘plot twist’ on 20 October.

The golden vault idea extends across OOH advertising, where the international products sit on solid-gold vaults like valuable pieces of loot. The entire in-restaurant experience is re-designed to let fans participate in the heist, with hero stunts including a golden parachute resting across the Golden Arches, as if the haul has just landed.

Hannah Pain, Marketing and Menu Director at McDonald’s UK, states, “Our fans are very good at telling us which McDonald’s products they want us to bring home next, so this year we listened. But every good heist has a plot twist, so watch this space. We may not be finished yet.”

On 25 September, media and creators will be invited to an immersive London event set inside the secure vault where the stolen menu items are being kept. Guests will taste the menu, explore the heist world and co-create content to share across their channels.

Launching on 22 September, the eight-week campaign is extended from five weeks in 2025 and will run across TV, cinema, out-of-home advertising, social, radio, CRM, partnerships, activations and events.

Jason Keet and James Hodson, Creative Directors at Leo UK, adds, “McDonald’s fans gave us the targets. We just planned the heist. That is what fan-fuelled creativity means to us at Leo UK: listening to what people genuinely want and turning it into an idea everyone can enjoy. After last year’s campaign travelled around the globe, we knew the next heist had to go bigger. More loot, more accomplices and a twist halfway through. It would have been criminal not to.”

The campaign was created by Leo UK for McDonald’s, with Leo UK leading creative, digital and social. Media planning and buying was handled by OMD. PR, events and influencer activity were handled by Red Consultancy. Social partnerships were handled by LADbible. CRM was handled by TMW, digital activation by TMS, and POP and in-restaurant communications by Linney.

Meet “Old Man Winter” in CEMA and Decker’s Latest Advertising Campaign

noreply@blogger.com (Rey B) — Wed, 23 Sep 2026 13:00:48 +0000

As summer winds down, Connecticut homeowners may not be thinking about winter just yet. But one familiar seasonal villain is already preparing for his return — and he’s coming back with a serious grudge against heating bills.

"If you’re a homeowner in Connecticut still warm from the last golden days of summer, there’s a good chance you haven’t given much thought to the cold temps that are right around the corner!" notes Decker SVP Strategy, Andrew Kesin.

Unfortunately, that’s all Old Man Winter has been thinking about.

In a new campaign from Connecticut EnergyMarketers Association (CEMA) and Decker in conjunction with National Oilheat Research Alliance (NORA), Old Man Winter is getting ready to unleash absolute freezing temps. His gym is frozen, just like his soul. And he won’t give a second thought to driving up residents’ heating bills. While Old Man Winter becomes a fully-realized brand character, the message sent to residents in Connecticut is clear. It’s time to prepare for colder temperatures with Bioheat® Fuel, a cost-effective, reliable and environmentally friendly home heating solution.

For CEMA, the campaign uses humor and an unexpected character to remind homeowners that preparing for winter also means thinking about how they heat their homes.

Chris Herb, President, CEMA states, "Winter sneaks up on us all, and this campaign is a great reminder that Bioheat is an environmentally friendly way to heat your home when the weather turns cold. Just over half of homes in Connecticut rely on Bioheat to stay warm, so this humorous consumer awareness campaign is an effective way to show homeowners that the fuel they use is taking care of their family and the environment around them."

The creative team took the familiar idea of Old Man Winter and gave him a decidedly unconventional personality.

Dom DeLoya, Creative Director, Decker, adds, "You know an idea is worth pursuing when it’s this effortlessly memorable. Personifying winter as a geriatric gym bro who’s training with the sole purpose to wreak absolute havoc on your heating bill was conceptually sharp and absurd in the best ways. We wanted to create something people would laugh at but also pay attention to. And while Old Man Winter may not have the warm heart and soul of Rocky, he still has the same no-quit attitude we gravitate toward."

The “Old Man Winter” campaign launched in September and is running on Connected TV, Social, and Digital channels across Connecticut.

CREDITS:

Agency: Decker

Creative Director: Dom DeLoya

President: Kathy Boucher

Animation Studio: Dunwell

Creative Director: Ryan Dunn

SVP Strategy: Andrew Kesin

The One Club Hosts Gala Induction Ceremony For 2026 Creative Hall of Fame

noreply@blogger.com (Gloria J) — Tue, 22 Sep 2026 12:38:29 +0000

The One Club for Creativity inducted the latest esteemed group of legends in advertising, design, and education into the prestigious Creative Hall of Fame at a gala black-tie ceremony last week at Capitale in New York.

The evening also included Apple as the first brand to be inducted into the newly established Brand Hall of Fame.

This year’s illustrious inductees are as follows.

Creative Hall of Fame

Rosie Arnold, one of the most awarded art directors in British advertising history, spent more than three decades shaping iconic work at BBH and championing creative excellence throughout the industry.
Janet Champ, Wieden+Kennedy copywriter behind Nike’s groundbreaking “If You Let Me Play” campaign, transformed how brands communicate with women through work rooted in truth, empathy, and cultural impact.
John C Jay, a visionary creative leader whose influence spans retail, advertising, fashion, and culture, helped shape brands including Nike and Uniqlo while pioneering a new model of culturally driven creativity.
Caroline R. Jones, formerly of J. Walter Thompson, BBDO, Caroline Jones Advertising, Zebra Associates, and Mingo-Jones, trailblazing copywriter, the first black female vice-president at a major agency.
Piyush Pandey, widely regarded as the father of modern Indian advertising at Ogilvy, transformed the industry by bringing the language, humor, and humanity of everyday India into the heart of brand storytelling. Accepting was his brother Prasoon Pandey, celebrated ad creative and film director.
Joyce King Thomas, the creative force behind McCann’s iconic “Priceless” campaign for Mastercard, helped redefine emotional storytelling in advertising while becoming one of the industry’s most respected creative leaders and mentors.

Educators Hall of Fame

Michael Conrad, former Global CCO at Leo Burnett Worldwide and co-founder of the Berlin School of Creative Leadership, helped shape generations of creative leaders while elevating standards across the global advertising industry.

Brand Hall of Fame

In recognition of 50 years of design, branding, and communications innovation and leadership, Apple has been selected as the first brand to be inducted into the newly established Brand Hall of Fame. Apple cofounder Steve Jobs was inducted into the Creative Hall of Fame in 2012. Accepting was Tor Myhren, Apple Vice President of Marketing Communications.

Background

Every two years, creatives and educators are nominated for the Creative Hall of Fame by The One Club membership, while brands are shortlisted based on over 100 years of global One Show and Art Directors Club ADC Annual Awards competition wins.

Candidates go through a voting process involving past Creative Hall of Fame inductees and The One Club’s National and International Board of Directors. The next public call for nominations will open in the summer of 2027.

Criteria for being considered for the Creative Hall of Fame is three-fold: impact of their body of work, influence they’ve had on the industry, and inspiration on the next generation of creative leaders.

More information can be found on the Creative Hall of Fame website.

ABOUT THE ONE CLUB FOR CREATIVITY

The One Club for Creativity – home of The One Show, the global Art Directors Club ADC Annual Awards, Art Directors Club of Europe (ADCE) awards, Type Directors Club TDC competition and scholarships, ADC Young Guns, Young Ones Student Awards, Next Creative Leaders, ONE Creator Lab, WAATBP Essentials career fair, Portfolio Night, Creative Week, and more – is the world’s foremost non-profit organization whose mission is to support and celebrate the success of the global creative community. Revenue generated from entries to its global awards shows goes back into the industry to fund programs that support industry access, creative education, professional development, and enhancement of creative careers around the world.

New bibigo™ Campaign Turns Randall Park into a K-pop Singer

noreply@blogger.com (Gloria J) — Fri, 18 Sep 2026 13:18:58 +0000

Korea Everywhere

bibigo™, the #1 Korean-style food brand in the U.S., is inviting people to make Korean-style food their new go-to in the kitchen. The new campaign brings back Korean-American actor Randall Park in four distinct personas that represent the different ways that Korean culture has been showing up in mainstream pop culture around the world, leading industries in K-beauty to K-pop. Yet, Korean food isn’t as widely adopted. That’s why bibigo is here to change that.

Known for his comedic chops, Randall takes us through a few scenes, showing up as himself, a beauty influencer, an animated superhero, and a member of a K-pop boy band. From street food stalls to the stage and finishing in the kitchen – bibigo shares its wide selection of products ranging from frozen to shelf-stable, single serve bowls, snacks, appetizers and sauces. The spot doesn’t just showcase the success of K-culture around the world, but also leverages the hype to spotlight Korean-style food.

“Our first masterbrand campaign, K-food 101, invited Americans to ‘bibigo™ for it’ and focused on encouraging Americans to try the many different and delicious types of Korean-style food. That’s still a priority, but the new work leans into the overall impact that Korean culture and K-lifestyle have had in the U.S. and around the world,” says Federico Arreola, president of Asian Cuisine division at CJ Schwan’s. “It was an easy decision to welcome Randall Park back on set. As an iconic Korean in Hollywood, we knew he could connect with audiences and encourage them to try authentic Korean flavors.”

86% of Americans are ‘meal repeaters,’ who regularly eat the same meals at home, yet 70% of consumers prefer to get Asian food from restaurants. “We asked ourselves how we could bring authentic Korean flavors into the cooking rotation.” says Jonathan Lavoie, Creative Director at Rethink. “Tenets of Korean culture are everywhere, from music and fashion to film and television. bibigo is an undeniably Korean brand that is bringing authentic Korean flavors to households across North America, and hopefully, Korea’s favorite will be everyone’s new go-to.”

The “K-wave” (or “hallyu” in Korean) speaks to the global popularity and cultural export of South Korea’s entertainment, music, and lifestyle, featuring K-pop, K-dramas and K-beauty. From the Grammys to the Emmys to the Academy Awards, Koreans and Korean-Americans, like Randall Park, are finding success in their various endeavours.

“It’s amazing to see how much the world has welcomed Korean culture, from music to K-beauty to the Oscars,” says actor Park. “Korean food is my absolute favorite, and I’m excited for more people to discover what makes K-food truly one of a kind.”

bibigo’s partnership with Randall Park is part of the brand’s ongoing mission to champion Korean cuisine to an international audience. This effort builds upon the recent appointment of popular K-pop group ALPHA DRIVE ONE (AKA ALD1) as their new global brand ambassadors, in line with the brand’s established history of partnering with influential Korean figures worldwide.

Rethink led on strategy and creative, with Mediahub on media. The “Korea Everywhere” campaign, anchored with a 30s spot and two 15s cutdowns, is currently rolling out across television and social media channels.

Rebecca Sharon Named Partner and Managing Director at Obsessed Media

noreply@blogger.com (Rey B) — Tue, 15 Sep 2026 13:38:51 +0000

Obsessed Media has named Rebecca Sharon Partner and Managing Director, strengthening its leadership team as the company enters its next phase of growth.

As a partner in the business, Sharon will work alongside founders Barry Dan, CEO and Danny Weisman, Chief Media Officer to help scale Obsessed Media while protecting the foundation of its model: giving clients direct access to senior, unbiased strategic advisers. Her role will be to build the systems and structure that allow the agency to grow without adding layers between clients and experienced counsel—or compromising the independence that keeps its recommendations focused on what will work best for the client.

The appointment comes amid rapid growth for Obsessed Media, which launched in April 2025. In just over a year, the agency has grown from two founders to a team of nine and built a roster of 16+ clients, including Hinge, Midi Health, Meow Wolf, Acorns, Navan, New York Redbulls, and Paze. Many relationships have also expanded from initial audits or strategic projects into broader, long-term engagements.

As part of the leadership team, Sharon will lead new business, internal operations and client satisfaction—shaping which opportunities the agency pursues and how it wins them as it expands beyond largely word-of-mouth growth, overseeing the team and operating systems behind the work, and maintaining the quality of both the work and the client experience. Barry Dan and Danny Weisman will continue to lead the strategic media thinking and counsel at the center of Obsessed Media’s client work.

“Growth has been happening to us, which is a great problem to have, but we wanted to be more intentional about where we go from here,” said Barry Dan, co-founder and CEO of Obsessed Media. “Rebecca brings the experience to build for growth along with a deep understanding of the media landscape, which means she can help us grow the business while keeping that growth connected to why we started Obsessed in the first place.”

“The current media ecosystem has evolved to favor big brands. For everyone else, it just doesn’t work,” said Sharon. “I joined Obsessed Media because it’s built for growth-stage brands that need a media partner focused on their business problems and real business outcomes—not just throwing more media at it.”

Sharon brings extensive agency and brand experience to Obsessed Media. Most recently at Noble People, she grew her work with Coca-Cola from Honest Tea into a broader portfolio that included Peace Tea, ZICO, Dunkin’ RTD and Minute Maid Spiked, while also leading work for clients including Nickelodeon, Glossier, PayPal, Splunk and CrowdStrike. She began her career at Wieden+Kennedy New York, working with ABC Entertainment across communications, media and account management.

About Obsessed Media

Obsessed Media is an independent media agency built to make media work better for growth-stage and enterprise brands. Founded by media executives Barry Dan and Danny Weisman, Obsessed gives clients direct access to senior strategists and operates with an independent, outcome-focused model designed to eliminate media waste and improve business performance. The agency works across the full media ecosystem, helping brands identify what isn’t working, redirect investment and build smarter strategies focused on what needs to happen for media to be seen, trusted and remembered. In just over a year, Obsessed has grown to 16+ clients, including Hinge, Midi Health, Meow Wolf, Acorns, Navan and Paze.

Yann-Gaël Cobigo and Thibault Michal Join Publicis Conseil as Executive Creative Directors

noreply@blogger.com (Gloria J) — Mon, 14 Sep 2026 12:26:22 +0000

Publicis Conseil has announced the appointment of Yann-Gaël Cobigo and Thibault Michal as Executive Creative Directors. They will help shape and lead global creative strategies for several of the agency's major international brands.

Originally from Paris, Yann-Gaël and Thibault have spent most of their careers in London, working at agencies including R/GA, Media Arts Lab, BBH and VML. Along the way, they have created and led international campaigns for some of the world's most iconic brands, including Apple, Audi, Heinz, The Athletic and Coca-Cola.

Marco Venturelli, CEO and CCO of Publicis Conseil notes, “Yann-Gaël and Thibault bring real experience in global brands and international creation. Their arrival adds even more strength to our teams in areas that are increasingly important to our clients. We're delighted to welcome them to Publicis Conseil."

Over the past three years at Ogilvy WPP/Open X, they played a key role in some of Coca-Cola's most high-profile global work. From “The World Needs More Santas,” the brand's 2023 global Christmas campaign, to the Paris 2024 Olympic Games and the Milano Cortina 2026 Olympic Winter Games, they helped create campaigns designed to connect with culture on a global scale. They also led the recent worldwide collaboration between Coca-Cola and Star Wars, bringing together two icons of contemporary popular culture.

Their work has been recognised at many of the world's leading international creative festivals. Their Coca-Cola Paris 2024 campaign has also become part of the permanent collection of the Musée des Arts Décoratifs in Paris.

Their arrival marks another step in Publicis Conseil's international growth and further strengthens the agency's global creative expertise.

“Joining Publicis Conseil at such an exciting moment in its journey is a fantastic opportunity. We've long admired the creative ambition Marco Venturelli, Agathe Bousquet and the entire team have built here. We share the belief that the strongest ideas are those that can cross cultural borders while remaining deeply human. We're thrilled to begin this new chapter together,” added Yann-Gaël Cobigo and Thibault Michal.

The One Club and CapCut Announce Major Global AI Partnership

noreply@blogger.com (Rey B) — Sun, 13 Sep 2026 13:17:00 +0000

The One Club for Creativity, the world’s foremost nonprofit organization whose mission is to support the global creative community, announced a major agreement with CapCut, part of ByteDance, to serve as the club’s premier global AI partner.

CapCut is a leading AI-powered photo and video editing app for everyone, available for desktop, mobile, and pad. The fast-growing platform provides users with a complete package that includes graphic design, team collaboration, and more, with advanced AI technology infused at every turn.

The partnership encompasses four of the club’s major global awards shows, where CapCut’s involvement will include:

Creation of a new custom category in the upcoming Art Directors Club’s ADC Annual Awards, to be announced in October;
Serving as presenting partner of ADC Young Guns 24, the leading global competition to celebrate creative professionals age 30 or younger, which is now open for entry;
A special CapCut brief competition as part of the Young Ones Student Awards, one of the world’s most acclaimed competitive showcases for advertising, digital communication, and design students, with the chance for them to earn a prestigious One Show Pencil, ADC Cube, Type Directors Club TDC Award or Portfolio Award;
Serving as the presenting partner of The One Show 2027 Creative Use of AI discipline;
A series of in-person and virtual creative events, and a related creator content series, to be announced shortly.

The partnership represents an expansion of The One Club’s successful relationship with ByteDance.

It follows TikTok’s 2023 founding partnership of The One Club’s ground-breaking ONE Creator Lab, the industry’s first and only tuition-free program to help content creators learn the skills required to launch their careers in the advertising and marketing industry. TikTok also partnered with the club last year for the inaugural One Show Best Use of TikTok award.

Also in 2026, the club’s ADC Annual Awards formed an exclusive partnership with Dreamina AI for the free ADC AI Visual Design-Dreamina AI category dedicated to honoring the frontier of generative craft.

“As AI becomes an increasingly important part of the creative process, this partnership brings together our shared commitment to championing exceptional work and the people pushing creativity forward,” said Adam Izen, Chief Awards Officer at The One Club. “We’re thankful to the team at CapCut and look forward to working with them to help define what creative excellence looks like in the age of AI.”

ABOUT CAPCUT

CapCut is the leading AI-powered photo and video editing platform for everyone. Users can make professional video creation and editing fast, simple, and accessible for every creator. Instead of dealing with complicated software, CapCut offers a clean interface, smart AI tools, and powerful editing features that speed up workflow. By enabling instant video generation and precise timeline controls, the app is built to help users create polished content in minutes.

ABOUT THE ONE CLUB FOR CREATIVITY

The One Club for Creativity – home of The One Show, ADC Annual Awards, Art Directors Club of Europe (ADCE) awards, ONE Asia Creative Awards, Type Directors Club TDC competition and scholarships, ADC Young Guns, Young Ones Student Awards, WAATBP Essentials career fair, ONE Creator Lab, Portfolio Night, Creative Week, and more – is the world’s foremost non-profit organization whose mission is to support and celebrate the success of the global creative community. Revenue generated from entries to its global awards shows goes back into the industry to fund programs that support industry access, creative education, professional development, and enhancement of creative careers around the world.

Pure Leaf Serves Up a ‘Break Conference’ With Tennis Star Amanda Anisimova

noreply@blogger.com (Rey B) — Fri, 11 Sep 2026 13:13:46 +0000

In tennis, breaks aren't interruptions; they're part of the game. From changeovers to set breaks, players know that the right pause can help them return stronger.

Pure Leaf believes the same is true beyond the court. In today's always-on culture, where people feel constant pressure to keep going, a small break with a refreshing, naturally caffeinated Pure Leaf Iced Tea can help people reset and recharge so they can return ready to take on whatever the day brings with confidence.

That's why Pure Leaf is bringing its tea breaks platform to one of the biggest moments in tennis through a partnership with Ana Anisimova, limited-edition tennis-inspired merchandise and an interactive fan experience in New York City.

At the center of the campaign is a surprise that transformed what Anisimova thought would be a routine press conference into something much more meaningful.

From Press Conference to ‘Break Conference’

Anisimova knows firsthand that meaningful breaks can be game changers.

After stepping away from professional tennis in 2023 to intentionally reset, she returned to the game and propelled herself into a Top 10 spot among the world's leading female tennis players—an inspiring comeback.

To spotlight the power of meaningful breaks, Pure Leaf surprised Anisimova during the height of the 2026 tennis season with a much-needed tea break.

What she thought was a routine press conference turned into a "Break Conference"—a quiet, revitalizing moment dedicated to simply taking a break, reconnecting with loved ones and enjoying Pure Leaf Iced Tea, free of snapping cameras and rapid-fire questions.

The moment was captured on film and will debut across Pure Leaf's social channels, complemented by additional video content highlighting Anisimova's personal journey.

“Taking a break from tennis gave me the time and space I needed to reset,” said Anisimova. “The experience taught me that a break doesn’t mean you’ve lost your drive. It can be exactly what you need to come back stronger, with a fresh perspective and greater confidence.”

Introducing the Set Break Collection

Pure Leaf is also giving fans a new way to tap into the excitement of peak tennis season with its tennis-inspired Set Break Collection.

Designed to inspire game-changing breaks during the afternoon slump, the limited-edition collection features a lineup of tennis-inspired prizes, exclusive merchandise and free Pure Leaf Iced Tea.

Beginning August 30 and continuing throughout the height of tennis season, fans can enter for a chance to win Set Break Collection drops by commenting on each specific drop post on Pure Leaf’s Instagram (@PureLeaf). Each drop will open at 3 PM ET and close at 11:59 PM ET on the date listed below. NO PURCHASE NECESSARY. Open to legal residents OF THE 50 U.S./D.C., 18+ and age of majority (19+ in AL & NE). Ends 2:59 p.m. ET 9/14/26. Void where prohibited. Official Rules: https://fooji.info/PureLeafRules for complete details.

The collection includes seven different drops:

Drop #1: A Year’s Supply of Pure Leaf Iced Tea
August 30–September 1

A year's supply of real brewed Pure Leaf Iced Tea, complete with a custom cooler to keep every bottle chilled and ready for the perfect tea break.

Drop #2: Premium At-Home Mocktail Kit
September 2–3

A courtside classic reimagined for the perfect tea break. The premium at-home mocktail kit pairs Pure Leaf Iced Tea with tennis-inspired glassware, elevated accessories and more.

Drop #3: The Reset Set
September 4–5

A chic Pure Leaf-inspired tennis apparel collection made for both on- and off-court moments, featuring classic court-ready pieces, a cable-knit sweater and a visor.

Drop #4: Amanda Anisimova-Signed Racquet
September 6–7

Fans can get the chance to own Amanda Anisimova's racquet model of choice, signed by the tennis star herself.

Drop #5: Custom Pure Leaf Racquet Bag
September 8–9

A sleek custom Pure Leaf racquet bag designed with quality leather and embroidered to carry every match-day essential—with dedicated space for a racquet, tennis must-haves and, most importantly, an ice-cold Pure Leaf waiting when it's time to reset.

Drop #6: Tennis Net Hammock
September 10–11

A limited-edition hammock crafted from upcycled tennis nets and signed by Anisimova, inviting fans to stretch out, slow down and savor a break between busy moments.

Drop #7: The Steep Suite
September 12–13

A premium at-home sauna paired with a custom cooler stocked with ice-cold Pure Leaf, designed to bring fans a revitalizing hot-and-cold reset moment at home.

Bringing the Tea Break to New York

Pure Leaf is also bringing tea breaks directly to fans gearing up for a day of tennis in New York.

On September 2 from 2–5 p.m. ET, the Pure Leaf Tea Break Cart will be near Bryant Park on West 42nd Street between 5th and 6th Avenues.

Visitors can stop by to cool down with complimentary iced tea, signature mocktails and exclusive merch like visors and fans before heading to the grounds.

Across New York City, tennis-inspired out-of-home creative—including subway wraps along the MTA 7 Train and transit hub installations—will remind commuters that sometimes the best way to take on what's next starts with taking a tea break with Pure Leaf.

“Tennis recognizes something many of us forget in our day-to-day lives: breaks have value,” said Zach Harris, Vice President and General Manager, Pepsi Lipton Tea Partnership North America.

“The sport shows that moments to pause, regroup and refocus aren't time away from performance; they're often what make performance possible.”

That belief sits at the heart of Pure Leaf's campaign with Anisimova: breaks don't interrupt momentum; they help create it.

Swipe Right, Hair Optional: Tinder Teams Up with Canadian Creative Agency Academy

noreply@blogger.com (Rey B) — Fri, 11 Sep 2026 12:30:50 +0000

Bald Guy Summer reached Toronto this past weekend, as Tinder Canada and Toronto-based creative agency Academy tapped into one of the summer’s more unexpected cultural moments to get singles thinking differently about dating.

Tinder has always believed in the possibility of connection, but for Gen Z, dating can be the exception, with singles often deciding someone isn’t their “type” before giving the possibility a chance. Tinder Baldies, Tinder Canada’s newest campaign, challenges that thinking by encouraging young Canadians to reconsider what, and who, they may have written off.

The inspiration came from Mr. Worldwide himself. The internet took someone it once considered “cringe” and turned him into one of summer’s biggest cultural moments, complete with an army of bald-capped fans. Not because he had changed, but because culture collectively changed its mind. For Tinder, it was a reminder that sometimes seeing new possibilities just means looking at something differently.

Timed with Mr. Worldwide’s highly anticipated Toronto performance this past weekend, Tinder Baldies brought that idea to life with the Tinder Scalpers Ticketing Booth, a mobile barbershop where fans could get fitted with a bald cap or choose to shave their head, and the Tinder Baldies Boat Party.

Research conducted by the brand supported the approach: 85% of those surveyed agreed that confidence makes someone more attractive to them, while 44% said they find a shaved or bald head on a man attractive*. On Saturday, September 5, Tinder invited Toronto singles to celebrate baldies and give possibility a chance with two activations:

Tinder Scalpers Ticketing Booth. From 1 p.m. to 7 p.m., Tinder invited Torontonians to join the bald-loving movement by having their heads shaved or getting fitted for a baldies cap. Participants gained entrance to the Tinder Baldies Boat Party.
The Tinder Baldies Boat Party. The boat toured nearly 200 “baldies” through the Toronto Harbour to the sounds of Mr. Worldwide. Think bald pong, a bald DJ, and low-pressure opportunities for connection.

Through wild postings, in-app ads and creator partnerships with Canada Shore’s Christopher Brown and Lila Romanin and Toronto-based creators Matt Gupta, who shaved his head, and Carley Gonschior and Carly Sarah, who rocked bald caps, Toronto singles were invited to join Tinder in celebrating Baldies by RSVPing to the party via Partiful.

*Censuswide survey of single women aged 18–25 across the US and Canada. Overall N=2001 (US N=1000, Canada N=1001). Fielded 25.08.2026–28.08.2026. Note: "Gen Z" outcome language treats the full sample as Gen Z, since all respondents (18–25) fall within that generation. Percentages are rounded to the nearest whole number. The data shown here represents Canadian responses only.

Ogilvy Paris Appoints Matteo Maggiore as Global Creative Director

noreply@blogger.com (Rey B) — Thu, 10 Sep 2026 13:51:00 +0000

With 17 years of international experience, Matteo Maggiore has established himself as a creative leader with a talent for developing ideas that move the needle for both brands and businesses, while remaining deeply connected to culture.

Throughout his career, Matteo has worked at leading agencies including BBDO, Leo Burnett, Wieden+Kennedy and Jung von Matt, across Italy, the UK, the Middle East, the Netherlands and Germany.

He has partnered with some of the world’s most iconic brands, including Nike, Samsung, McDonald’s, P&G, HP and Hyundai Motor Group.

His work has earned more than 100 accolades at major international creative festivals, including Cannes Lions, D&AD, The One Show, the Clio Awards, ANDYs, Eurobest and the London International Awards.

Alongside his agency career, Matteo is also an international educator and jury member, and is deeply committed to mentoring and developing the next generation of creative talent.

“Matteo’s appointment is part of a very clear ambition: to progressively restore Ogilvy Paris’s international dimension. In a French market shaped by both a duopoly and significant fragmentation, we have historically thrived when the agency has drawn on the strength of its model. That model is built on the balance and diversity of the brands we build, bringing together French champions and global giants.

“Through both his experience and his personality, Matteo embodies this ambition,” says Benjamin Bregeault, Chief Creative Officer, Ogilvy Paris.

Matteo Maggiore states, “Joining Ogilvy Paris means becoming part of an agency shaped by generations of iconic creativity, while remaining relentlessly ambitious about what comes next. I’m here to help write the agency’s next chapter by strengthening its international dimension and creating ideas that can cross cultures without ever losing their relevance, impact or soul.”

In his new role, Matteo Maggiore will help strengthen Ogilvy Paris’s international creative profile and lead the development of global platforms for The Coca-Cola Company across multiple brands and markets.

Nex Playground Launches First National Brand Campaign Calling Families to Bring the Living Room Back to Life

noreply@blogger.com (Gloria J) — Tue, 08 Sep 2026 13:50:35 +0000

Nex, the company behind Nex Playground, the active play system that gets families moving together, today launched "Bring Back Family Time," its first integrated national brand campaign created in partnership with independent integrated agency Zambezi. Debuting across television, streaming, digital, social, and out-of-home media, the campaign introduces Nex on a national stage while encouraging families to rethink the role technology can play in everyday life – reminding us that technology can bring families together and help us be more active and connected.

As personal devices increasingly compete for our attention, shared experiences have become harder to find. With "Bring Back Family Time," Nex takes a stand for a different kind of screen experience: one that brings families back into the living room, gets them moving, and turn technology into something that creates connection rather than distraction.

At the center of the campaign is a cinematic hero film told entirely from the perspective of the family television. As a silent witness to decades of family life, the TV watches the living room evolve from a place filled with imagination, movement, and togetherness into one where each family member gradually retreats into their own personal screen. The story concludes with the arrival of Nex Playground, transforming the living room back into a shared gathering place where families can connect.

Bringing the personified television to life as the silent witness, heartbeat and centerpiece of the family living room is acclaimed actor Richard Kind, whose unmistakable voice lends warmth, humor, and heart to the campaign. Known for his colorful and emotive performances – including his role as Bing Bong in Pixar’s Inside Out – Kind gives the film’s narrator a sense of nostalgia and quirky charm as it reflects on decades of family life.

“This campaign is much bigger than just introducing people to Nex Playground," said David Lee, CEO and co-founder of Nex. "In a world where screens are increasingly designed to capture our individual attention, we're proving that screens can do something different. We believe the best technology strengthens human connection, encourages movement, and creates moments families can share together. That's exactly what we're building, and what 'Bring Back Family Time' is inviting people to rethink."

"Bring Back Family Time" launches September 1 across a national paid media campaign spanning streaming, television, digital, social, and out-of-home advertising. With media strategy led by Scale by Zambezi, the campaign is an integrated cross-platform push, which will reach parents and families on a mass scale to inspire them to stop and think. The campaign follows a period of significant momentum for Nex Playground, including a historic 2025 holiday season in which it outsold Xbox, surpassing one million units sold, launching in the United Kingdom, and announcing plans to expand into Germany later this year, with France, Japan and South Korea to follow in 2027.

"The living room used to be the ultimate stage for imagination and shared moments. From epic pillow battles and make-believe sword fights to laughter-filled family gatherings, every day was alive with energy and connection," said Gavin Lester, Chief Creative Officer at Zambezi. “Our goal is to show what happens when that space turns into a silent, blue-light slumber of individual scrolling, and how active play with Nex brings that life back. It’s an idea that hits close to home for any parent who’s watched their own living room grow quiet, and invites Nex as the solution."

The campaign film can be viewed on Nex Playground’s YouTube channel.

To learn more, visit nexplayground.com or follow the company on Instagram and Facebook.

Meet Jiwon Yang: The Third Culture Kid Bringing a Global Perspective to Advertising

noreply@blogger.com (Rey B) — Mon, 07 Sep 2026 17:00:00 +0000

Meet Jiwon Yang, a young copywriter at Cheil USA whose unconventional path into advertising is every bit as interesting as the perspective she brings to the industry!

A self-described “Third Culture Kid” (TCK) who grew up between Korea and the United States, Jiwon has experienced firsthand how media can connect people across cultures. Her curiosity has led her from business school to portfolio school, earning a scholarship, building a LinkedIn following of more than 7,000, generating millions of social media views, moving across countries, and ultimately landing her first professional creative role.

In her Featured Creative Q&A, Jiwon talks about finding her place in advertising, researching beyond what's obvious, learning from others, and why, in an increasingly AI-driven industry, human taste, opinions, and feelings still matter.

Tell us a little bit about yourself. What do you do? Where do you work? How long have you been working as a creative professional?

I am currently a copywriter at Cheil USA working on accounts like Samsung and helping with new business pitches. Excluding my portfolio school education, I would say I'm close to a year of being a copywriter.

As a professional Copy Writer working for one of the top creative agencies in the world, what does a typical day look like for you?

It depends on what the workload is since every day it's different, but I start with checking my teams to see if anyone is OOO and then I go to my dashboard to see if there were any hot asks that came through that I missed or if any of the projects I worked on that were went for review came back.

I would say a typical day when I'm working on a project is having lots of meetings with account and my creative director. I get feedback from internal creative team but have to update the deck / copy after while still making it in time for internal meetings with account so that my copy is also approved by them too. It's a lot considering you really have to satisfy basically everyone while still trying to make it as creative as possible and meet their ask, but I try not to skip and meals or panic!

What drew or motivated you to do the work that you do now?

I always grew up being obsessed with social media. When I was living in the United States, it was the only way I could watch K-Pop music videos and vice versa when I was living in Korea.

I've also loved books - that's actually how I picked up English so fast when I was young and had just came to the U.S. with my family for my dad's job! I've always wanted to be a fiction writer because I was such a curious kid, but I wasn't really sure as I grew older and reality started kicking in.

I went to college as a business major because I liked interacting with people and had a mind that was, in a sense, 'salesy'! But when I became a sophomore in college, I realized I didn't want to do business analytics and health insurance for the rest of my life. As I went through 'senioritis', I started dm-ing tons of people on Linkedin and learned that you didn't have to be great at art to work in advertising as I can draw as much as a stick figure! The fact that there was a separate role for you to write for brands blew my mind and it felt like a glass slipper Cinderella moment.

I was lucky enough to get a scholarship to an online portfolio school called book180 as their first international student and I learned from Creative Directors around the world with students based in the United States. I woke up at 7am before my Korean college classes to take classes in EST and worked in the AM to partner up with my art directors. Getting 'mock briefs' related to American brands made me interested in learning about the US advertising market, so I decided to change my major, school, and country - all while still attending portfolio school.

Tell us about some creative work that inspire you? Whose work do you admire?

I think it changes all the time as the things that I value in advertising change. It's such a fast paced industry and inspiration definitely comes from not just ads, but culture in general, especially music. One thing hasn't changed since I started to dip my toes in the industry though - my favorite ad.

A British Original by Uncommon Creative Studio, London really moved me because it showed how a single line of copy could portray so many emotions related to travel. I've traveled my whole life as my father works internationally, so I genuinely admired how Uncommon was able to remind us travel isn't just simply for business or leisure, but something deeper than that.

You were born in Korea, grew up in California and studied in Texas, which you claim made you a '3rd culture kid.' What do you mean by this? Do you think this influenced the kind of work you have gravitated towards now?

TCK or 'Third culture kid' refers to a person raised in a culture outside of their parents' passport culture for a significant part of their childhood. In my case, I was raised in both the US and Korea during my early development stages, so in a sense it kind of made me the person I am today.

I definitely think this influences the kind of work I gravitate towards because I'm so passionate about showing people how different cultures think, act, and live. Before I came to the States, I didn't know how car dependent this country was. Now I'm a pro driver! In Korea, I had a hard time adjusting because I was too "Americanized", as I grew up listening to Beyonce and Brittany Spears, not BTS.

At the end of the day, people aren't able to understand each other because everyone is different and I think that's where media and communication comes in. That's one of the reasons and probably the main reason why I'm so passionate about doing the work I do right now, because it gives me a chance to help create the bridge between the two countries that I'm so intertwined with, especially through mediums I understand well (blogs, snapchat, Instagram, TikTok, YouTube, podcasts, etc...).

I think media gives people the 'third space' to connect, regardless of which country you are physically located in.

What’s the biggest creative challenge and/or accomplishment in your career to date?

I think the biggest creative challenge I had was when I was working on a brief for Walt Disney World and the 4As. The target audience was Hispanic families, something that I personally haven't experienced or been part of before. Of course we started with research, articles, social listening, the whole 9 yards but every person had a different opinion about so many topics, it was hard to figure out what was actually relatable to the target audience.

My art director partner at the time was also Korean, so we decided to call my Mexican college friends and ask for their experience. But we soon learned that because they were childless and in their early 20s, they didn't really know much about creating budgets for family trips and handling kids!

I wanted to give up and just go with the insight that our team had already chose, but I felt something was still off and unsure. I eventually went into the office and started interviewing every Hispanic colleague I could find at the agency during happy hour. I asked them a bunch of questions on how they grew up, what Disney was like for them, what their parents thought of amusement parks and what was 'fun'.

I stared at that page all day and finally came to an insight that was able to resonate with the people I had talked to, which was that a lot of people grew up with Disney being a 'concept' or something that they interact with passively. Walt Disney World is an amusement park, related to action and movement, but growing up listening to Disney and reading books means a lot of folks don't really see Disney as something that they 'do' or interact with physically.

In the end, I think being able to put yourself in other people's shoes is one thing, but actually reaching out to people and getting to know the whole picture and culture is another. As a copywriter, ideating and research takes forever, but I think it's important to have the courage to start from scratch when you feel like you need to.

What most excites you about working in your industry?

This might be an obvious answer, but being able to see how we'll be able to communicate with people in different ways. When I grew up, it was emails, international calls, and glitchy internet. Especially being on a major tech account makes me realize how technology can create so many ways to connect with people. I know AI and advanced technology is scaring a lot of people, but in a way I feel like it helps people feel like they aren't alone and so different. Growing up 'different' made me feel like I never belonged anywhere, and I still feel that way to this day. But as we bring different forms of advertising to different audiences, I think the industry has the power to help people feel seen and heard through different brand campaigns.

You have a particularly humorous approach to your website and social media posts, which is quite unique for young advertising professionals. Is humor an important part of your professional work life?

Humor is honestly a part of my coping mechanism haha. I tend to feel things deeply a lot, as do a lot of creatives and when I get too deep into it, it reminds me that sometimes things aren't that serious! I guess I've never thought about me using it for work because I'm not able to get on 'humor forward' clients that often, but looking back I think it definitely plays a part when I'm writing copy.

Sometimes you're overwhelmed with all the information you have to say and technical details that you end up writing stuff that's as stiff as a paddle board. Or you research so much that you kind of get lost in perfectionism. Reminding myself that even though I take work seriously, my work doesn't have to be serious and I think that's how you go from 'I have nothing' to ideas clients and consumers like. It also reminds me that people aren't so different sometimes. A lot of people mention generational differences, but there are so many similarities as well. I mean, my grandpa and I laugh at the same jokes and feel similar things!

You have 7K followers on LinkedIn and noted you get 4 million views on your social media posts. What is your goal with building out your social media reach?

I actually have 3 different social media channels I run that reach millions of views sometimes but I think it's a bit different since they are my personal channels and there's no client behind them. However, I do feel like just running them from A to Z on my own teaches me how trends are created, what people like to see, what's the newest features, etc... that I can use when ideating for social ideas as a copywriter.

For me, I'd like to grow my account so I can see things from an influencer perspective as well, especially when we need to choose who to collab with or what kind of content to create on social media. I think what I do is the macro part of social media - ideating, writing for tone of voice, and creating content is the micro part, so I do actually want to try to incorporate things I've learned as a copywriter and vice versa.

Everyone needs time out. What do you do in your spare time to help re-energize your creative side?

I'm an extrovert so I love to talk to other people, including friends who work in completely different fields and my 83 year old grandpa who is my best friend. I like to cook and get a cute little drink at cafes and bars or watch movies and TV shows, as does any person I guess haha. Oh, and I'm also chronically online scrolling on social media. But I have no scientific evidence to show that it re-energizes my creative side, LOL!

What’s the best piece of advice you’d give your younger self?

I would say to have more confidence. As many people know, sometimes life doesn't work out the way you want and so do campaigns. Your ideas get killed, reworked, pushed back a million times and I used to get super insecure and want to give up all the time. I tried to focus on things I could control and study harder, talk to more people, try more briefs. I definitely think that is one of the things that makes you a great creative, but even defining what a 'perfect copywriter' is or a 'perfect ad' is subjective. I'd tell myself that just because I'm young doesn't mean that I know any less, and that sometimes you need to believe in yourself before anyone else will.

There is a lot of talk about Artificial Intelligence (AI) and how it will shape future creativity? What are your thoughts on the future of being a professional creative in a possibly AI-driven world?

I feel like every conversation in our field leads to this and honestly I really can't stand the apocalypse of AI generated ads where they bullet point every information possible and make it hard to read with bad design. It's not even about creativity at that point, because we're still all human at the end of the day, and nobody's going to read a whole essay on Linkedin while they're already overstimulated with short attention spans - even if you put a bajillion emojis. But at the same time, AI is helping creatives envision vague concepts into actual visuals and finding more ways to research and write.

As I mentioned before, I think AI has the power to reach the right audience at the right time, connecting to more people in different ways. I think it's too early to speak on what AI can be as a creative as I know it's developing even more.

But one thing AI doesn't have is taste, opinions, and feelings. Okay, that's actually 3 things!

I don't know if you've asked AI for perfume recommendations or outfit choices, but it's actually horrible. It doesn't have taste, which is something personal. If I liked vanilla ice cream but it recommended me chocolate, I wouldn't like it. I would need to figure out for myself that I like vanilla ice cream and tell AI that. It could help me figure out if I like vanilla or not, but I would need to taste it for myself to see if I actually like it or not. Maybe I like vanilla but only if it's on a cone not a cup, who knows. Same with feelings. I'm sure any parent would jump into the ocean to save their child but to AI, that would seem illogical and I'm pretty sure unless you program it to, it wouldn't recommend it. For AI, the consequences wouldn't affect it because it doesn't have feelings and responsibilities. For the parent, their whole lives would change.

What are your goals in the next five years? Where do you hope to be professionally?

I hope to be a creative director as does any copywriter, but my goal right now is to just learn as much as I can from other people and experience different work. I've worked at small agencies, big agencies, mid-size agencies, and I'm still trying to navigate what I value as a young professional. I love the work that I do right now, but my goals are to work on different brands of different sizes and connect people one headline at a time.

How can others see more of your work or connect with you?

Linkedin is the fastest way to reach me and my random thoughts, but my website is www.xoxojiwon.com and my email is also always open!

The One Club Partners with CultureCon as Part of “Career Essentials” WAATBP 2026 Event

noreply@blogger.com (Gloria J) — Wed, 02 Sep 2026 13:58:38 +0000

In light of the challenging job market for entry level talent, The One Club for Creativity announces a shift in its long-running WAATBP career fair to focus exclusively on direct career support, and a new partnership with this year’s CultureCon, the largest annual festival for creative professionals, entrepreneurs, creators, and influencers who are building fulfilling careers, lifestyles, and culture.

This year’s two-day WAATBP event kicks off on October 2, 2026 across two floors at The One Club headquarters at 450 West 31st St in New York.

The jobs-focused “Career Essentials” format includes in-person portfolio reviews, “Ask HR Anything” recruiter meetings where attendees can have frank discussions and get actionable advice on interviewing, and networking opportunities, all designed to deliver direct value to young creatives.

“One Big Idea” creative brief competition

On October 3, 2026, the action shifts to the Brooklyn Navy Yard's Duggal Greenhouse stage of CultureCon, where WAATBP will hold the “One Big Idea” creative brief competition. The competition is open now for public entry, with the top three finalists advancing to a live finale to present their ideas and the chance to win a $5,000 cash prize.

Top industry creatives judging the “One Big Idea” brief presentations will be Pum Lefebure, The One Club for Creativity Board Chairperson and Co-founder, CCO at Design Army, and fellow Board members Jimmy Smith, Chairman, CEO, and CCO at Amusement Park Entertainment, and John 'JP' Petty III, Co-Founder, Managing Partner, 14th And Market. In addition, the CultureCon audience will serve as the fourth judge, letting their preference be known in real time.

After the three finalists pitch their brief idea live on stage, the winner will receive a $5,000 cash prize, as well as one-year membership to The One Club, mentor sessions with a One Club Board member, and the opportunity to help bring their winning idea to life.

In addition to adding an engaging element of creative competition to CultureCon, the brief will also drive awareness of The One Club's mission to support the global creative community, and the nonprofit organization’s deep career readiness expertise to the festival’s large audience.

To make WAATBP accessible to young creatives, tickets are priced at an affordable $15 for One Club members, $20 for non-members.

“This partnership is rooted in something we care about deeply, which is democratizing access," said Imani Ellis, CEO and Founder of CultureCon. "The One Club shares our belief that talent is everywhere, but the opportunities to cultivate that talent need to increase. We're excited to join forces to empower the next generation of creativity, and to make sure the doors that opened for us keep opening for them.”

"The One Club and CultureCon each bring something unique to the creative community,” added Adrienne Lucas, Director, Strategic Partnerships & Programs at The One Club. “We have spent decades investing in creative excellence and career development, while CultureCon has built one of the most influential platforms for creators and entrepreneurs. Through this partnership and the creative brief competition at its center, we're creating new pathways for talent to showcase their work, gain visibility, and connect with careers they may not have known were possible."

To make WAATBP accessible to young creatives, tickets are priced at an affordable $15 for One Club members, $20 for non-members.

Originally established as “Where Are All the Black People”, WAATBP has over the years broadened its mandate to become the leading annual gathering to address and correct the lack of diversity within the ad industry, bringing together all voices to celebrate successes, examine challenges, and take their place at the table alongside their allies.

WAATBP 2026 is made possible in part through the support of corporate partners Capital One, Ogilvy, and WiP, with others to come.

For more information and to register, please visit the WAATBP website.

The One Club Establishes Brand Hall of Fame and Names Apple as First Inductee

noreply@blogger.com (Gloria J) — Mon, 31 Aug 2026 13:10:49 +0000

In recognition of 50 years of design, branding, and communications innovation and leadership, Apple has been selected as the first brand to be inducted into The One Club for Creativity's newly established Brand Hall of Fame, part of the prestigious global Creative Hall of Fame.

Formed in 1961, the Creative Hall of Fame has a rich heritage of honoring the lifetime achievements of creative luminaries, including Walt Disney, Andy Warhol, Annie Leibovitz, Gordon Parks, Saul Bass, Paul Rand, George Lois, and others. This marks the first time a brand has been inducted.

“It’s an incredible honor for Apple to join the Creative Hall of Fame, because imagination is woven into everything we do. It drives how we innovate, how we design, and how we work every day to empower people everywhere to create their own extraordinary things," said Tim Cook, Apple's CEO. "We’re grateful to be recognized by an institution that has championed creative voices for so many generations.”

Apple has consistently delivered groundbreaking levels of creative excellence, working internally and with agencies Chiat/Day and TBWA\Media Arts Lab.

Among the brand’s most famous work is the iconic “1984” Super Bowl commercial to introduce the original Macintosh computer and “Think Different” campaign of the late 1990s, through to the early 2000s with “iPod Silhouettes and two dozen “I’m a Mac, I’m a PC” ads as part of their “Get a Mac” campaign.

More recent work includes the globally celebrated “Shot on iPhone” campaign now in its 11th year, “Privacy, that’s iPhone” in its eighth year, Emmy-Winning holiday ads “Misunderstood" and "Fuzzy Feelings”, accessibility films “I Am the Greatest” and “I’m Not Remarkable”, and the iconic HomePod film "Welcome Home”.

The firm’s legacy of excellence in branding extends beyond just ads, with a consistent aesthetic that runs through the full spectrum of product design, packaging, and store design.

Apple cofounder Steve Jobs was inducted into the Creative Hall of Fame in 2012. In addition, Apple and TBWA\Media Arts Labs are two-time recipients – in 2017 and 2026 – of The One Show’s prestigious Penta Pencil award, honoring the agency and brand who together have created outstanding creative work for the previous five years.

The One Club established the new Brand Hall of Fame to recognize brands with longstanding records of commitment to creative excellence, bold ideas, and contribution to culture.

Every two years as the nomination cycle begins, the club will evaluate the more than 100-year archive of winners in its global One Show and Art Directors Club ADC Annual Awards programs to identify a shortlist of brands that have consistently been recognized as high archivers. The shortlist is then voted on by the organization’s National and International Board of Directors.

“The Brand Hall of Fame was created to recognize the rare brands that have made creativity fundamental to who they are and, in doing so, have helped move our industry and culture forward,” said Kevin Swanepoel, CEO at The One Club. “For more than 50 years, Apple has set an extraordinary standard for design, innovation and creative communication, with work that has been consistently recognized across The One Club’s awards. That remarkable legacy makes Apple a natural and fitting first inductee into the Brand Hall of Fame.”

This year’s Creative Hall of Fame black-tie gala induction ceremony, which serves as a fundraiser for the nonprofit One Club for Creativity, will take place on September 16, 2026 at Capitale New York.

In addition to Apple, this year’s illustrious inductees are as follows.

Creative Hall of Fame

Rosie Arnold, one of the most awarded art directors in British advertising history, spent more than three decades shaping iconic work at BBH for Levi’s and others.
Janet Champ, Wieden+Kennedy copywriter behind Nike’s groundbreaking “If You Let Me Play” campaign, transformed how brands communicate with women through work rooted in truth, empathy, and cultural impact.
John C Jay, a visionary creative leader whose influence spans retail, advertising, fashion, and culture, helped shape brands including Nike and Uniqlo while pioneering a new model of culturally driven creativity.
Caroline R. Jones, formerly of J. Walter Thompson, BBDO, Caroline Jones Advertising, Zebra Associates, and Mingo-Jones, trailblazing copywriter, the first black female vice-president at a major agency.
Joyce King Thomas, the creative force behind McCann’s iconic “Priceless” campaign for Mastercard, helped redefine emotional storytelling in advertising while becoming one of the industry’s most respected creative leaders and mentors.
Piyush Pandey, widely regarded as the father of modern Indian advertising at Ogilvy, transformed the industry by bringing the language, humor, and humanity of everyday India into the heart of brand storytelling.

Educators Hall of Fame

Michael Conrad, former Global CCO at Leo Burnett Worldwide and co-founder of the Berlin School of Creative Leadership, helped shape generations of creative leaders while elevating standards across the global advertising industry.

Criteria for being considered is three-fold:

Impact — Those who have a celebrated body of work. This includes work that has been recognized as the best in the industry over multiple years for multiple brands, can be considered truly innovative and original in thinking and execution, and has an undeniable lasting impact.
Influence — Those who have used their creativity and leveraged their resources to advance the industry and serve the greater good.
Inspiration — Those who have had a measurable, positive effect on the next generation of creative leaders, and are known industry-wide as mentors, door-openers, and opportunity-creators.

Since The One Club for Creativity is a 501c3 nonprofit organization, individual ticket purchases above $250 and table ticket purchases above $2500 are considered charitable donation. Sponsorship options are available for those unable to attend the ceremony but wishing to support and celebrate the inductees.

ABOUT THE ONE CLUB FOR CREATIVITY

‘Fuelled by Silence’ Film Aims to Help 18-year-old Deaf Racing Champion McDuff Find New Sponsors

noreply@blogger.com (Rey B) — Thu, 27 Aug 2026 10:35:52 +0000

Disability turns into a competitive advantage for an 18-year-old Welsh racing driver in a new film from TheGardening.Club and Hijinks, created through its Positivity Through Creativity programme.

Caleb McDuff, who was diagnosed as profoundly deaf in early childhood, is aiming to secure new brand sponsorships through the campaign, ‘Fuelled by Silence’.

Directed by Lee J Ford through The Gardening.Club, the 90-second film uses AI to transport McDuff and his car from familiar racing circuits to the remote reaches of the universe – a place that mimi
cs his deaf driving experience.

Narrated by McDuff, the film traces his journey from learning to drive as a child to competing professionally. We discover how, unable to use in-car radio systems available to other competitors, McDuff raced in silence and learned to harness it to his advantage.

Archive footage of McDuff’s childhood racing exploits is blended with AI-generated imagery that places him and his car driving on spectacular remote planets, places where silence reigns.

The film reveals that technology now enables him to communicate with his team during races, and we end with McDuff saying: “Now I am ready to prove to the world just how loud silence can be.”

Aged 16, McDuff became the first deaf racing driver to win a race in the Britcar Trophy Championship. Now McDuff needs to secure more sponsorship to ensure he reaches his goal of competing in the Porsche Carrera World Cup 2027.

Caleb McDuff said: “I never let being deaf stop me. This film tells my story and shows that when you believe in yourself, you can overcome any barrier. My message to everyone is to always follow your dreams. My message to potential sponsors is that I’m only just getting started.”

The campaign was developed through Hijinks’ Positivity Through Creativity programme, set up to serve pro bono clients. Work through the programme has also included campaigns for Women’s Aid, Legalitees and WeRepresent.

Tamryn Kerr, co-founder and chief creative officer at Hijinks, said: “The starting point wasn’t that Caleb succeeds despite the silence, but that the silence helped make him the driver he is. We wanted potential sponsors to see his extraordinary talent, focus and ambition, and understand just how far he has the potential to go”.

“AI allowed us to bring that idea to life on a scale that would never otherwise have been possible for a pro bono project. Used with imagination and purpose, it helped us give Caleb’s story the platform and breadth of recognition it deserves.”

Morgan Whitlock, Executive Producer at TheGardening.Club adds: “From the moment I met Caleb and his team I knew we’d do everything we could to support them. Everyone on this project has brought that same passion and commitment, it’s been a phenomenal process and that shows in the film the team have created. If it moves the needle for Caleb, it’ll have been worth every moment.”

The film breaks today on social, online video, press and Caleb McDuff Motorsport’s website, with plans for out-of-home and cinema activity in discussion.

Dave Bullen Joins The Social Lights as VP of Creative

noreply@blogger.com (Rey B) — Tue, 25 Aug 2026 11:04:33 +0000

The Social Lights, the woman-owned social-first agency, has named Dave Bullen VP of Creative. Bullen joins from MONO, the Minneapolis creative agency where he spent 16 years, most recently as group creative director.

Bullen has spent more than 20 years as an art director, leading award-winning work for Google, Apple, Harley-Davidson, Alfa Romeo, Target, Sherwin-Williams, PepsiCo, Capital One and the National Hockey League. Before MONO, he held art direction roles at Olson and Carmichael Lynch. At The Social Lights, he will work across the agency’s entire client roster, helping brands sharpen their creative point of view and turn brand strategy into bigger social opportunities.

The hire reflects the sophistication of social. Social now demands the same brand rigor and creative craft as any other component of a marketing plan, said Stephanie Schafer, president and chief growth officer at The Social Lights.

“Dave's entire career has been built on getting to the truth of what makes a brand distinct and connecting people to brands in a way that breaks through the noise to build relevance with key audiences,” said Schafer. “It's easy to get swept up in trends and let an algorithm or an influencer speak for you rather than hold your own POV. Dave makes sure we’re helping our brands win in real-time without losing their long-term narrative and translating the principles of building great brands to the world of social. That’s the gap we built this leadership team to close.”

Bullen said the move marks a deliberate step outside his comfort zone — and a chance to put into practice the advice he's given clients for years.

“I’ve always told brands that if you keep doing the same thing, you’ll get the same result, so stepping into something new felt important for me, too,” he said. “There’s a lot of pressure to move fast because the world moves fast, especially on social. But speed and meaning don’t have to be at odds. My creative mantra has always been be brave or be dead, and the bravest thing a brand can do right now is slow down long enough to know exactly who it is in order to move forward.”

Bullen's arrival adds to a leadership bench The Social Lights has built to pair deep social expertise with senior brand and creative experience, as the agency takes on larger, more integrated briefs from its growing roster of clients.

ABOUT DAVE BULLEN

Dave Bullen is a classically trained art director with more than 20 years of experience inventing and reinventing some of the world's most iconic brands. He likes to create work that is strategically thoughtful, but also creatively impactful. He believes disruption and innovation are essential to a brand's success in today's competitive marketplace, and that creativity is one of the most powerful, yet underutilized, tools a brand has to reach its full potential. Bullen's brand experience includes Apple, Google, Firefox, Target, Harley-Davidson, Alfa Romeo, Bauer Hockey, Advance Auto Parts, Sherwin-Williams, PepsiCo, Capital One, BlueCross BlueShield, Fifth Third Bank, Honeywell, the National Hockey League, Macy’s, Wilson Sporting Goods, La Colombe Coffee, Heaven Hill Distillery, L'OR Coffee & Espresso.

ABOUT THE SOCIAL LIGHTS

The Social Lights is a fast-growing, woman-owned indie agency headquartered in Minneapolis that partners with global brands to decode culture and activate fandoms at the speed of social. The agency's services span content and social strategy, creative production, social media planning and buying, social care and engagement, measurement and optimization, creative technology, training, video production, and event marketing. The Social Lights' work has been recognized on the Inc. 5000 six times, along with repeat Shorty and Webby Award wins.

BBH London's ‘After Dark’ Creative Spot Sees the Audi e-tron Get Into Some Mischief

noreply@blogger.com (Rey B) — Fri, 21 Aug 2026 13:27:41 +0000

A new epic creative spot for Audi’s fully electric e-tron range celebrates quiet confidence as a powerful asset, steering the e-tron away from the category norms back to Audi’s core sporting DNA.

‘After Dark’ is a cinematic, mischievous spectacle that returns Audi to its ancestral home: the race track.

BBH London playfully draws on Audi’s decades of motorsport engineering to show how technologies born in the thrilling, high-octane world of motorsport, including instant acceleration, quattro precision handling and intelligent braking, have been tamed for the road.

Shot at the legendary Silverstone Grand Prix Circuit, where Audi is the official car partner, the 90 second slot, directed by Elliott Power via Love Song, features four Audi e-tron models carrying out a coordinated mission.

Rather than driving like ordinary cars, they move with purpose and instinct, each expressing its own personality through choreography inspired by its unique strengths. They evade the security guard and dog as well as skilfully avoiding the mechanic at work.

By the end of the film, the cars have made their way to the Silverstone starting grid, where we leave them ready for the real fun to start. Proof that the e-tron range captures Audi’s Vorsprung durch Technik DNA of pushing the boundaries of performance.

Tony Moore, Head of Marketing at Audi UK, said: “The Audi e-tron range combines advanced electric performance with the engineering heritage and innovation Audi is celebrated for. Vorsprung durch Technik has always been about using the craft of design and engineering to move people, and today that philosophy is embodied in our electric vehicles. This campaign captures that beautifully, showing that our e-tron range is every bit as exhilarating, capable and innovative.”

To underline Audi’s heritage in the motorsport space, the film also features a cameo appearance by the Audi R18 e-tron quattro, a hybrid model, which won the 24 Hours of Le Mans three years running from 2012 to 2014, a clear reminder of how far back Audi has been innovating in the EV space.

The 90-second hero film will launch during the first ad break of the opening match of the 26/27 Premier League, when Arsenal play Coventry City at 20:00 BST. It’s supported by TV, cinema, video-on-demand, social and digital activity. Individual films and cut-downs will highlight the distinct character of each e-tron model. The campaign will run across the UK throughout 2026 and 2027.

CREDITS

Campaign title: ‘After Dark’

Client: Audi UK

Head of Marketing: Tony Moore

Head of Brand & Performance Marketing: Kristy Venables

Brand Marketing Manager: Laura Brennan

Performance Marketing Manager: Ed Courtenay

Brand Communications Manager: Lauren King

Advertising agency: BBH London

Global Chief Creative Officer: Alex Grieve

Chief Creative Officer, London & Dublin: Felipe Serradourada Guimarães Creative Director: Uche Ezugwu

Associate Creative Director: Charlie Pendarves

Creative: George Robb

Designers: Rebeka Fodor and James Bush

Chief Strategy Officer: Will Lion

Strategy Director: Will Hawkins

Senior Strategist: Christina Shutti

Client Managing Director: Bobbie Gannon

Business Lead: Philip Mattinson

Account Director: Georgia Rayner

Account Manager: Katie Headley

Agency Film Producers: David Lynch, Georgina Kent and Rory Reames

Media agency: PHD

Client partner at PHD: Scott Boyes

Media planners: Dominic Maddison, Hannah Loe.

Production company: Love Song

Director: Elliot Power

MD UK: Shirley O’Connor

Producer: Ellie Fry

Production Manager: Harriet Staples

1st Assistant Director: Chris Mears

DOP: Harry Wheeler

2nd Unit Director (no prep): Ruda Santos 2nd Unit DOP: Ilya Maksymenk

Production Designer: Arthur De Borman

Edit house: Marsheen

Editor: Dave Davis

Edit Producers: Harriet Cawley and Pia Ebrill

Post-production company: Stray

Creative Director: Carl Norton

2D Lead: Giacomo Verri

Executive Producer: Clare Melia

VFX Producer: Jack Williams

Grade: Electric Theatre Collective

Colourist: Jason Wallis

Colour Producer: Alex Carswell

Audio post-production: String and Tins Sound Design and Mix: Will Cohen and Kaspar Broyd Car Location Record: Kaspar Broyd and Adam Hare Audio Producers: Claire Toms and Eimear Ní Ghuaire

D&AD's 2026 AI & Creativity Report Highlights the Cost of Taking the Shortcut

noreply@blogger.com (Gloria J) — Tue, 18 Aug 2026 13:33:11 +0000

D&AD, the global creative non-profit championing excellence in design and commercial creativity, today launched The D&AD AI & Creativity Report 2026: The Cost of the Shortcut, a global study which found that what separates great creative work from average work isn't the technology – it's human judgement. This report was sponsored by Shutterstock Studios.

AI has made creative work faster and cheaper, but if you treat it as a shortcut, you just get average output. The real value – and the D&AD Awards data backs this up – comes from skilled human judgement using AI to sharpen human craft, not replace it.

But that judgement has to come from somewhere, and right now the industry is cutting off its own supply. The entry-level jobs where people learn to build judgement are disappearing. The fix isn't to protect those jobs as they are – it's to redesign them, so they still teach the judgement the industry depends on.

Drawing on 197 in-depth conversations with global creative leaders from 30 countries, alongside an analysis of over 10,000 D&AD Award entries, the global benchmark for creative excellence, the report identifies six areas where leaders can actively choose to build a stronger, more intentional industry.

The Work was the Training. How do we protect the future of our craft?
While entry-level jobs are disappearing, AI is simultaneously absorbing the remaining repetitive tasks. Together, this is eliminating the training ground that builds the judgement required for future creative leaders.

The Tool Raises the Floor, Human Judgement Sets the Ceiling
The proportion of D&AD Award entries declaring the use of AI more than doubled year-on-year, reaching 27.6% in 2026. Generative AI was used in 56.2% of AI-declaring entries overall, compared with 44.7% of AI-declaring Pencil winners, alongside a proportional rise in assistive AI among winners. The data suggests that while AI is increasingly part of the creative process, its use alone does not translate into creative excellence. At the highest levels, human judgement, originality and craft remain critical. AI is neither a shortcut to excellence nor a prerequisite for it.

The report also highlights that AI can drive the most impactful results when working invisibly beneath the idea. Projects like ‘Caption with Intention’ and ‘PainVisible’ prove that using AI to drive inclusivity and precision can push creative boundaries in ways that would be otherwise difficult to scale.

Six Reckonings Reshaping the Industry

The D&AD AI & Creativity Report 2026 identifies six critical reckonings facing every creative organisation. Together, they define the choices that will determine whether AI becomes a shortcut to average work or a catalyst for creative excellence.

Among its findings:

Originality: Left alone, AI trends towards the average. Award-winning work emerged where specialist AI tools were paired with discerning human judgement and craft.
Talent: As repetitive tasks disappear, organisations face a defining choice: use AI to replace learning opportunities or redesign junior roles around critique, taste and cultural awareness.
Leadership: Creative excellence cannot be delegated to AI. The organisations pulling ahead are those whose leaders are actively shaping how AI is adopted, governed and used.

"AI has changed what bad work looks like," said David Patton, CEO of D&AD. "It's no longer lazy or derivative in any obvious way – it's competent, polished, and generic, and it's the default output for anyone, anywhere. The real problem sits one step earlier: how do you train someone to tell competent from excellent, when competent is now the easy default everywhere they look? This report isn't just a diagnostic of risk. It's D&AD planting a flag – not for the tools, or against them, but for the human judgement they can't replace."

The D&AD AI & Creativity Report 2026: The Cost of the Shortcut, concludes that AI is not determining the future of creative excellence. Rather, the choices organisations make about how they use it are. The report sets out the decisions that will separate those who simply produce work faster from those who continue to produce work that matters.

The report was assembled and edited by D&AD and Ben Cooper, BRAINSTRUST, who also led the 2025 report.

Download the report here: https://www.dandad.org/insights/learning/ai-report-2026

ABOUT D&AD

D&AD is a global creativity non-profit that celebrates, stimulates and enables excellence in design and commercial creativity. Through its world-renowned Awards and education programmes, D&AD aims to generate funding to champion the next generation of creative talent to drive positive change in the industry and beyond. The global steward of creative excellence in commercial creativity. For more, visit: dandad.org

ABOUT SHUTTERSTOCK STUDIOS

Shutterstock Studios is a global content engine—part production company, part innovation lab. Led by expert producers and creatives and powered by Shutterstock’s technology ecosystem, we are uniquely built on the AI infrastructure behind many of the industry’s leading models and grounded in one of the world’s largest licensed content libraries. We design custom workflows that accelerate ideation, streamline production, and unlock new creative possibilities across stills, video, 3D, animation, and emerging formats. From concept to delivery, Shutterstock Studios brings human creativity and responsible AI together to produce high-impact, on-brand content at the speed today’s marketing landscape demands. Learn more at https://studios.shutterstock.com/.

Liquid Death and goodwipes Launch Limited-Edition Flushable Wipes

noreply@blogger.com (Gloria J) — Mon, 17 Aug 2026 12:53:32 +0000

Liquid Death turned healthy beverages into a cultural movement. goodwipes has spent more than a decade modernizing the most overlooked room in the house with its mission of revolutionizing the restroom routine.

Now, the brands are joining forces to bring that same energy to the bathroom by launching one of the most unexpected brand collaborations of the summer: a limited-edition pack of flushable wipes, inspired by Liquid Death's sCREAM Soda.

Negotiated by partnership agency SonderCo, the collaboration goes beyond a licensing deal, with the brands reformulating goodwipes' signature product, infusing the flushable wipes with Liquid Death's Mountain Water and sCREAM Soda scent, along with goodwipes' gentle, skin-loving ingredients like aloe and vitamin E, to bring Liquid Death's signature edge to the beauty-and-booty-care world.

Both brands have built loyal followings by bringing personality, innovation, and premium experiences to categories that traditionally lack all three. Rooted in a shared "Death to Dry" philosophy—whether that's dry mouths, dry wiping, or dry standards—the partnership extends Liquid Death and goodwipes' approach into personal care by creating a product fans can actually use.

“We believe hydration shouldn't stop at your mouth. Combining goodwipes premium wipes with our 100% real Mountain Water and the scent of one of our most popular soda-flavor sparkling waters should make anyone feel #1 at #2, whether you have a live-in Buttler or not,” said Andy Pearson, Liquid Death VP of Creative.

The partnership comes to life through "The Buttler Sweepstakes," giving one lucky consumer the chance to win their own butt-wiping VIP service: a fully trained, live-in Buttler who will personally wipe their butt using Liquid Death x goodwipes sCREAM Soda wipes.

The Sweepstakes launches alongside a brand film going live across Liquid Death and goodwipes' social channels on August 11. Featuring a tuxedo-clad “Buttler” who does nothing but wipe your butt, the comedic spot was co-ideated by both brands and produced in-house by Liquid Death, produced in the style of an SNL Happy Fun Ball parody, sending up the over-the-top infomercials of the category it's spoofing. The competition will run through August 31 (goodwipes.com/buttler).

Meredith Diehn, SVP Marketing at goodwipes, concludes, “Consumers deserve better than dry, outdated experiences. From what you drink to how you wipe, the standard has always been too low, so we’ve joined forces with a brand who shares our ambition to disrupt the status quo, to help people truly upgrade their restroom routine. Made with real Liquid Death Mountain Water, aloe, and vitamin E, these wipes bring premium ingredients and a skincare-inspired approach to one of the most overlooked categories in personal care. This collab was always destined to happen—it just needed the right excuse, the right product, and one exceptionally classy 'Buttler.’”

The limited-edition wipes launch exclusively in more than 4,000 Walmart stores nationwide on August 10 and will be available through January 2027.

CREDITS

LIQUID DEATH + DEATH MACHINE:

Founder/CEO: Mike Cessario

SVP Marketing: Dan Murphy

VP of Creative: Andy Pearson

VP of Marketing: Greg Fass

VP of Design: Frank Dresmé

VP of Apparel & Merch: Misha Brunelli

Creative Director: Will Carsola

Associate Creative Director: Stu Golley

Senior Nihilist: Brendan Kelly

Brand Manager: Jeanne Irwin

Senior Graphic Designer: Kellen Breen

Wholesale Director Merch: Christopher Cargnoni

Executive Producer: Zoë Andrikidis

Producer: Rylee Brown

Director: Andy Pearson

Director of Photography: Tom Banks

1st AD: Julian Metter

Gaffer: Brandon Alperin

Key Grip: Steve Dorman

Production Designer: Nu California

Editor: Tyler Beasley

VFX: Yellow Sweater

Sound Mix: Tyler Beasley

Color: Bryan Smaller @ Company 3

GOODWIPES:

SVP Marketing: Meredith Diehn

Creative Director: Maria Guilbault

Creative Strategist: Frank Cartagena

TIRTIR and JvM HANGANG Make K-Beauty Concert-Proof at BTS THE CITY ARIRANG – NEW YORK

noreply@blogger.com (Gloria J) — Thu, 13 Aug 2026 14:30:00 +0000

Global Korean makeup brand TIRTIR, together with Jung von Matt HANGANG, brought the TIRTIR CONCERT-PROOF BAR to BTS THE CITY ARIRANG – NEW YORK.

The experience was part of ARMY ‘MADANG’ at the Korean Cultural Center New York, a dedicated fan space bringing together BTS-inspired experiences, cultural programming and brand activations. TIRTIR participated as the official K-beauty brand.

The activation was built around a simple observation: for fans, a concert is not a two-hour event. It is an all-day ritual shaped by queues, summer heat, movement, cameras and countless moments shared in real time. Instead of treating that attention as borrowed reach, TIRTIR set out to become useful in the moment, helping fans prepare, discover products and maintain their look throughout the concert-day experience.

From fan attention to fan utility

At the CONCERT-PROOF BAR, visitors could explore and try TIRTIR products selected for long, high-energy days, including the limited-edition BTS THE CITY New York Perfect Setting Duo, sun care and lip products. Guests also received exclusive first access to an upcoming TIRTIR cushion foundation and venue-only benefits.

The limited-edition duo combined TIRTIR's Reflect Glow Prep Primer and Mask Fit Makeup Fixer with the BTS THE CITY Arirang Pouch. Inspired by the traditional Korean bokjumeoni, or lucky pouch, the design connected a contemporary global fan experience with a recognisable element of Korean culture.

Sunyoung Erika Lee, Chief Marketing Officer, TIRTIR states, “Global growth is not simply about putting K-beauty on more shelves. It is about becoming relevant in the moments people care about. We turned a genuine concert-day need into an experience fans could try, share and take with them, connecting product performance, Korean cultural detail and commerce in one place.”

From experience to commerce

The physical experience was designed as part of a connected purchase journey. Fans could buy the limited-edition set through Weverse, collect pre-purchased products at the event and access QR-based purchasing on site. The model brought product trial, exclusive access, pickup and purchase into one continuous experience, reducing the distance between cultural attention and commercial action.

The activation followed TIRTIR's participation in BTS THE CITY – BUSAN and extended the brand's growing US presence with a locally relevant experience in New York. Rather than repeating a conventional pop-up formula, the idea was shaped around the behaviour and conditions of this specific audience and occasion.

“Cultural relevance begins with behaviour, not iconography. We looked at what fans actually go through on concert day and built the brand around that truth. The result connects culture, product and commerce without forcing any of them.” added Bill Yom, Founder and Chief Creative Officer, Jung von Matt HANGANG

From Seoul insight to global brand growth

The project reflects JvM HANGANG's role as a cultural bridge between Korea and global markets. The agency's approach is not based on using K-culture as decoration, but on understanding the behaviours around it well enough to create a credible role for brands. For TIRTIR, that means moving beyond visibility alone and turning product relevance into experience, participation and sales.

Young & Laramore Names Chris Holland Its First Director of Growth

noreply@blogger.com (Rey B) — Wed, 12 Aug 2026 13:50:11 +0000

Young & Laramore (Y&L) today announced that Chris Holland has joined the independent creative agency as its first Director of Growth. Reporting directly to President & CEO Tom Denari, Holland will lead the agency’s business development strategy and help translate Y&L’s creative and strategic reputation into sustained growth.

In the newly created role, Holland will oversee Y&L’s full growth ecosystem, including lead generation and prospecting, agency marketing and public relations, relationship development and pitch management. He will focus on identifying and building relationships with ambitious brands looking for a refresh or a new perspective.

“We’ve built a national reputation from Indianapolis by consistently delivering engaging, smart creative, built through a deep understanding of consumer behavior. The opportunity now is to bring that story to more brands, and that requires someone focused entirely on growth,” said Tom Denari, President & CEO of Young & Laramore. “Chris brings national brand experience, a natural ability to build relationships and he understands what makes Y&L distinctive.”

Holland began his advertising career at The Odyssey, an Indiana University-based media startup, where he eventually became head of client services in the company’s New York office. There, he led campaigns for brands including Red Bull Media House, Paramount, Starbucks, Verizon, PepsiCo, Bumble and KIND while helping the company grow to more than 174 employees and a network of over 10,000 contributors. Most recently, Holland worked at GSD&M in Austin, where he helped lead experiential and digital marketing for the United States Air Force and Space Force.

"For decades, Y&L has quietly built a reputation as one of the country's most respected independent agencies; building brands, launching categories, and delivering work that rivals firms many times its size," said Holland. "My role is to help more marketers discover what clients have always known: Y&L brings the strategic depth, creative work, and partnership of a world-class agency without the layers and limitations that often come with larger holding-company networks."

Holland joins Y&L as the agency builds on a reputation for helping brands find distinctive positions and turn them into long-term growth. Its work includes transforming Delta Faucet’s premium line into Brizo, a luxury lifestyle brand as well as recent campaigns featuring Caitlin Clark for Gainbridge, world No. 1 pickleball player Anna Leigh Waters for Paddletek, and culturally driven collaborations for Dum Dums.

ABOUT YOUNG & LARAMORE

Young & Laramore (Y&L) is an award-winning independent creative agency based in Indianapolis, known for its work across brand strategy, design, advertising, marketing and media. Located in a restored 19th-century schoolhouse, Y&L reflects its building—identifying first and foremost as students of the consumer. Proudly independent, Y&L answers to no one but its clients and its own compass. The agency believes the ideal creative partnership is just that: a true partnership. Y&L works with brands including Brizo, Cummins, DEWALT, Dum Dums, Bit-O-Honey, Rust-Oleum and Goodwill.

Y&L is also the creator of UNREASONABLE: A Modern Look at Consumer Motivations, its annual consumer behavior conference which explores the emotional, psychological and social forces that shape consumer decision-making. This year’s event will take place September 30th in Indianapolis.

For tickets, click here.