Tagged: Paris

Oblique for Paul Smith Brand Identity & Packaging by…


Oblique for Paul Smith Brand Identity & Packaging by Graphical House


Oblique for Paul Smith Brand Identity & Packaging by Graphical House


Oblique for Paul Smith Brand Identity & Packaging by Graphical House


Oblique for Paul Smith Brand Identity & Packaging by Graphical House


Oblique for Paul Smith Brand Identity & Packaging by Graphical House


Oblique for Paul Smith Brand Identity & Packaging by Graphical House

Oblique for Paul Smith Brand Identity & Packaging by Graphical House

“We worked alongside Derek Welsh Studio to produce, brand and package a limited-edition set of dominoes to be sold through Paul Smith flagship stores in London, Paris, New York and Tokyo. Handcrafted in walnut, and cut at oblique angles, each set of dominoes is finished in Paul Smith signature navy and pink. This project celebrates a passion for detail and finish that is shared by all three studios.”

Graphical House is a branding and design consultancy based in Glasgow and working internationally. They use design to tell stories in an engaging way, enabling clients to achieve their commercial goals. They take the time to get to the heart of any business, always communicating simply, directly and with purpose.

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Article originally appeared on The Design Blog: Link.

Nike Calls Serena Williams the Greatest Athlete Ever in This Striking U.S. Open Ad

At a press conference at Wimbledon in July, a reporter asked Serena Williams how she felt about going down in the history books as "one of the greatest female athletes of all time." She responded simply, "I prefer the words 'one of the greatest athletes of all time.' "

With just a few words, the winner of 22 Grand Slam singles titles was able to combat the subtle sexism that permeates how female athletes are treated by the media.

Now, just two months later, Nike uses that moment as inspiration for its latest 60-second spot, a celebration of all that makes Williams great, timed to the U.S. Open. 

The spot, part of Nike's "Unlimited" series from Wieden + Kennedy, goes a step further in its assessment of Williams, deeming her the "greatest athlete ever" (after striking the word female from its own onscreen copy). 

The ad uses the just a few of those onscreen words to condense Williams' many accomplishments into an easily digestible narrative (even if it's cryptic at first). The creative is very stripped down, which works, though it might have benefited from more visuals matching the captions. Film is a visual medium after all. 

Nike provided this a reference key for the onscreen text: 

  • Compton—Serena Williams swung her first racket at the age of three in Compton, California, soon after her family moved from Michigan.
  • Sister, Outsider—Along with her sister, Williams proved that precocious talent always trumps preconceptions.
  • Pro—Williams turned pro in 1995, when she was 14.
  • #304—Two years later, with a ranking of 304, she beat two top-ten opponents and became the lowest-ranked player in history to achieve this feat.
  • Winner—In 1999, she claimed her first slam and rose to number four.
  • Top 10—The following two years, for the first time, she ranked in top 10.
  • Paris, London, New York—In 2002, Williams took Paris, London and New York — plus the number one ranking.
  • Melbourne—A 2003 victory in Melbourne solidified her first "Serena Slam."
  • Injured—Injury briefly derailed William's game but never her drive. She dropped to number 139 in 2006, struggled with confidence and critics labeled her obsolete.
  • Struggling—Williams responded by winning Melbourne in 2007, as an unseeded player, completing the year among the sport's top ten.
  • #169—After another bout of injury she declined to 169, but quickly battled back and resumed her ascent
  • done, comeback, focused—In 2013, she became the oldest player ever to earn the rank of number one.
  • #1—Williams held the top spot through 2014—the second woman to retain it for a full year—and took her sixth title in New York.
  • Legend—Today, she is revered as the greatest and her influence transcends the game of tennis.

There's also a cool out-of-home component to the campaign.

The company also gathered a variety of athletes, as well as comedian Kevin Hart, to send a message of support to Williams as she competes at the U.S. Open (see below). The messages are clearly sincere and heartfelt, which makes the video—it's an ad, after all, so they're all prominently wearing Nike gear—work better on an emotional level. 

Article originally appeared on Adweek Advertising & Branding: Link.

How a Young Fashion Designer Got Cannes Lions Buzzing With This Mysterious Dress

CANNES, France—When thousands of marketers descend on Cannes, the resulting chaos of banners, displays and branded freebies can overwhelm the senses. Which might be why one of the most effective posters at this year's Cannes Lions was the most simple and enigmatic.

Appearing alongside text-heavy event promotions across the Palais des Festival during the weeklong Cannes Lions International Festival of Creativity were several eye-catching posters whose only image was a woman in a silk gown and the hashtag #TheCannesDress. 

There was no brand, no date and no call to action beyond the tag, which led curious festival-goers to several images on Instagram. 

Lilli Jahilo

The dress and its subtle promotion campaign were the work of Lilli Jahilo, a young fashion designer from Estonia who's been working on a design inspired by the Côte d'Azur city for more than a year and decided to launch it at the 2016 Lions. Adweek caught up with her as the event wound down to ask her about the mysterious project, which sparked curiosity throughout the Palais and drew attention at just about every event where the dress made an appearance. 

Adweek: So what IS The Cannes Dress?
Lilli Jahilo: The Cannes Dress is a dress I created inspired by Cannes. First, it was the dress, and then we gave it a name.

The creation of the dress has taken a couple of years. It started from a private client insight who needed a red carpet dress for a warm climate. It continued when I came to the Cannes Lions and needed a dress for myself to wear at the galas. Before coming to the Cannes Lions, I had attended some top fashion industry events in Berlin, Amsterdam, New York and Dubai, but surprisingly I discovered Cannes Lions to be very inspiring. The concentration of highly creative people is awesome here, and as a young designer, you receive extremely good and honest feedback regarding your brand.

 

A photo posted by Lilli Jahilo (@lillijahilo) on

Tell us about the construction and design of the dress itself.
I chose a fabric that suits my brand values—highest quality handwoven silk from England in wonderful naturally dyed color palette. It was fun to design the dress; I imagined myself walking down the Croisette, from the Palais to Martinez and thought about the feeling I want to have during this walk. The idea of a voluminous skirt which moves and swirls and gives the wearer this wonderful sensation of silk touching your skin. It's incredibly lightweight, perfect for the hot weather, and has practical side pockets for your phone and business cards. It's ethically produced and can be worn with a clean conscience. It can be styled in so many ways, so that whoever wears it, it becomes a part of their personality.

Last year, our prime minister from Estonia was attending the Cannes Lions and his communications manager bought the first yellow version to wear down the pier in Cannes. She said she couldn't have felt better during that day. It had empowering character, since it had been a very stressful day for the whole delegation.

As all my collection items, the dress was worn and tested by me and my business partner Tene, first.  We run the Maison together and are really passionate about what we do. When we wore The Cannes Dress the first time, it was an instant eye-catcher. Everybody loved it. The dress elevates your mood and makes you feel special.

This year we felt confident enough to share this dress with a wider audience. We chose to do it at the festival, of course.

Your posters were all over the Palais at Cannes, but the only message was "#TheCannesDress". What did you hope the posters would inspire attendees to do?
We held the dress launch event on Sunday as part of the Fringe Events program, and so instead of putting all the information regarding the event on the poster we opted for the hasthtag instead. By searching it, you could then find the time and the place of the event on Instagram. 

I like when things are communicated in a simple way; it attracts attention a lot more. Likely because of this, all the other posters respected ours and none were even overlapped. So the posters stayed up for the whole duration of the festival.

 

A photo posted by Anna Victoria Eihenbauma (@aveih) on

Did people respond, in person or via social media, during the festival?

We found it really surprising that even when I intended to communicate the event via social media, it was the simple poster and the image itself that took all the attention. Everyone we talked to was aware of the term #TheCannesDress and how it looked, but I'm not sure if people actually searched the tag itself.

So I think it's really interesting that although social media has so much power, it's amazing what a print poster with a simple image and clear message/tag can do.

What were your goals for The Cannes Dress at the festival? Do you feel you accomplished those, and were there any unexpected benefits to come from the Cannes Lions?
My goal was for people to acknowledge the dress and also my dresses-only brand by coming to the lounge event.

That happened, except for the fact that it were the posters that did the job. I never expected for it to get that much attention. It turned into a sort of a visual symbol for the festival. Many people asked me if it was the festival organizers that asked me to do it. They were really surprised to hear that it was an independent initiative. I am building my brand, and the Cannes Lions is the place to do this. I cannot afford advertising in the Financial Times' How To Spend It, but being listed in the Official Fringe Program and connected to thousands of delegates has a pretty similar effect. 

 

Were people surprised to learn that one of the festival's most talked-about fashion designers was from Estonia instead of, say, Paris?
For sure. But I think it sparked a lot more questions and inspiring conversations. Estonia is known for its esolutions and being home to startups like Skype and Transferwise. It's a beautiful little country, home to 1.3 million people. And now I'm happy to take Estonian design out to the big wide world. Also, come to Estonia. We have plenty of fresh air, wild seaside, forests and cool people!

 

Will you be bringing The Cannes Dress back to the Lions in 2017? And what will you be doing until then to build on the momentum?
We'd like to turn The Cannes Dress Lounge into a tradition and to keep returning to Cannes. The festival needs that little spark, I think. I may come up with some new versions of the dress. Let's keep it a secret until June 2017.

We will go on a world tour with my pop-up showroom events between now and then. It's a great way for building relationships with new audiences, besides being a fun challenge. I'll hit it off in Dubai this October and then we'll see where the next stops are. The new collection will be released on Oct. 19. And I will continue to make the most beautiful dresses in the world

Lilli Jahilo (@lillijahilo) is a fashion designer based in Tallinn, Estonia. You can learn more about The Cannes Dress, which retails at 1,200 euros, and her collections and designs on LilliJahilo.com.

Article originally appeared on Adweek Advertising & Branding: Link.

Hosts Recommend How to Live in Tokyo, Paris or L.A. in Airbnb’s New Destination Marketing Spots

Today, Airbnb is rolling out its first destination marketing with spots focused on Tokyo, Paris and Los Angeles. Within the next iteration of its "Live There" campaign, from TBWA\Chiat\Day, the company is showcasing how families use Airbnb as the company's new focal point, according to Airbnb CMO Jonathan Mildenhall. 

"Airbnb has historically been a millennial traveler proposition, but with this campaign we're leaning into families," said Mildenhall. "There has not been a great many brands that have been able to straddle that delicate balance between a cool, millennial mindset and a more conservative family mindset. … We're trying to bring those two different cohorts under one umbrella together." 

Mildenhall also stressed that showing "same-sex families having the same type of vacation as heterosexual families" in the new work was important to the brand. In the L.A.-focused spot (see below), an Airbnb host greets a same-sex family. "We want to recognize that the LGBT community is a fundamental, on-going and very visible part of our community," said Mildenhall. 

The new destination-centric work also highlights Airbnb's evolved product. With the launch of its new app two weeks ago, Airbnb hosts can post guidebooks filled with recommendations for restaurants, bars, activities and more that are specific to their neighborhoods. The new spots show recommendations from real hosts in Tokyo, Paris and Los Angeles to convey how you can, as Airbnb's campaign pitches, "Live There." 

The 30-second spots will be used on television and on digital platforms. Airbnb is leaning heavily into programmatic planning and buying, according to Mildenhall. That way, if someone searches for trips to Asia, the company will be able to serve that person its new Tokyo ad.

"We're using programmatic advertising and a broader bank of content so that we can be much more relevant to audiences all over the world," said Mildenhall. 

In Australia, the company is also testing programmatic buying for television or addressable TV through a partnership with Fox Networks.

"This is the first time in my career and certainly for Airbnb that we've been able to look at a very innovative approach to TV, media planning and buying," said Mildenhall. "We've now got the breadth of content, the different audience segments baked into the content, the different stories and now we're able to use addressable TV to give us a greater incremental return of TV investment. " 

Article originally appeared on Adweek Advertising & Branding: Link.

KBS Charts New Course With an Eye Toward Growing Its International Footprint

As 2015 began, Guy Hayward joined MDC Partners' KBS in New York as its first global chief executive officer. His mission: revitalize an agency that had gained a reputation for stylish work, but had some challenges in recent years. Jump-starting the shop's new business engine and expanding its international footprint were also imperatives. Since his arrival, KBS has made strides on several fronts. Recent client additions include Keds in 2015—for which the agency has fashioned well-regarded campaigns, including a recent push featuring Girls star Allison Williams, as well as singers Ciara and Tori Kelly. Monster.com joined the roster in January. Hayward has also installed new management teams in KBS' U.K. and Canada operations—and charted new territory with an office in Shanghai.

Adweek: When you arrived at KBS, what were your initial goals?
Guy Hayward: My primary goal was to understand KBS' unique culture and capabilities. I wanted to get a better sense of what exactly sets us apart and how those traits could be used to our advantage. One of the things I really hate is the idea of a 100-day plan—when someone comes into a new role and makes a lot of big, important decisions in the first 100 days. From my perspective, you can't possibly know or fully comprehend the business you've joined that quickly. So I gave myself some time.

You've changed the agency's name and logo, which now sports a blue circle. Why are these subtle alterations important?
These changes might seem small, but as any marketer knows, they can be important. We've been Kirshenbaum & Bond, KB, Kirshenbaum Bond Senecal + Partners, and most recently KBS+. We wanted to refresh and modernize, and that's exactly what we did.

Speaking of brand refreshes, your new Keds campaign has earned some praise.
We love that the work is resonating with millennial women. Some people used to reject the idea you could be both fashionable and feminist, but women are destroying those limiting notions today and Keds is part of that conversation. As a sneaker that was created to enable women to go wherever they wanted while looking good, we'd argue it's a very authentic role for the brand.

KBS opened in Shanghai last year—how's that working out?
Our Shanghai office has about 10 people at present, and they are about to move into a new, permanent space. Globally, they're working on Bank of Montreal. On a more regional level, they won Stride Mint projects from Mondelez in 2015 and recently won some GoPro business.

Why is it important for KBS to become a global agency brand?
Global expansion is important for two main reasons: clients and talent. For our existing clients, having an international footprint conveys that we're the perfect agency to take them global because [it shows that we're] nimble, modern and love a good challenge. Globalization also opens us up to a large pool of potential new clients. From a talent perspective, it's important because in order to attract and retain great talent, you need to offer global opportunities. We encourage all of our employees to think with a global mindset, and we're trying to facilitate mobility through an exchange program [among agency offices].

In January, KBS parted with its two co-chief creative officers. How is the search for their replacements going?
We are hoping to fill that position as soon as possible. The agency is primed for major global growth this year, and this role will be an integral part in delivering on that.

Was it a tough personal transition moving from Havas in Paris to MDC New York?
For the first six months, I commuted between my family in Paris and my job in New York. I can promise you, it's far less glamorous than it sounds. You always feel like you are in the wrong place. Generally speaking, I love New York with one exception: Early dinner totally horrifies me. Sitting down for dinner at 6:30 and being done by 8 seems completely wrong.

What's the biggest lesson you've learned in your first year at KBS?
That acquisitions can be complicated, and that properly incorporating one agency into another takes real care and effort. [Ed. Note: In recent years, KBS has acquired Albion in the U.K. and Kenna in Canada.] Too often companies make acquisitions and expect those acquisitions to simply get on with it, but to really make the whole greater than the sum of the parts takes considerable effort from all of the parties involved.

This story first appeared in the April 18 issue of Adweek magazine. Click here to subscribe.

Article originally appeared on Adweek Advertising & Branding: Link.

France’s Yellow Pages Just Made an Interactive Music Video About a Lady Who Builds a Sexbot

Pages Jaunes—the French Yellow Pages—just launched an interactive music video for Breakbot's latest single, "My Toy." This may sound like a weird combination. But think about how much creative, local and artisanal color gets involved in productions like this. If you never have before, that's fine; it's usually hidden in the background. 

Not this time. 

The non-interactive video, which kicked off the #BreakbotxYellowPages campaign, went live in a global Pitchfork exclusive last week (we'll get to the content later): 

On Breakbot.pagesjaunes.fr, you can watch the whole thing with a layer you can play with. To the top left of your screen, you're told how many small-business professionals worked on each scene, VH1 Pop-Up Video style. 

When you click on the screen, the action freezes and little interaction bubbles guide you to videos about who did what—everyone from makeup artists, to a custom umbrella maker, to a neon vendor are showcased in about 34 videos. (They're all in French, natch, but some videos with subtitles appear below.) 

Here's a scene for an interaction point about an esthetician: 

You probably think the Yellow Pages, whose fat yellow books would make a brick cower in fear, are the perfect symbol for the world we left behind in our race toward bionic supremacy. But in France, Pages Jaunes is still going strong—and remains among the top 10 French media sites, scoring a whopping 15 million unique visitors per month.

Pages Jaunes started going digital deep in the '90s. The company is super mobile and tablet-friendly—its app has been downloaded 21.9 million times—and has made it a mission to bring small-business owners to digital, even going so far as to build them white-label websites (making it the No. 1 website creator for French professionals). 

So, it's managed to keep up with the times. 

But it's still hard to understand how Sid Lee, a young agency best known for its work on Adidas, sold the world's most old-school phone directory on a music video about a lady who builds her own sexbot. (Unlike his Ex Machina counterpart, who went rogue, this android looks terrified… at least until the orgy.) 

We went to Sid Lee's Paris offices on Tuesday morning to find out what this madness was all about. Executive creative director and partner Sylvain Thirache and managing director and partner Johan Delpuech were nice enough not to throw us out. Here's a nice picture of them, so you know whose faces to imagine while they talk: 

Asked how the client managed to stay hip with the flowering conglomos of tomorrow, especially in a country that prides itself on wary tech adoption, Delpuech explained: "Pages Jaunes maintains a very close relationship with small-business owners. And when their business started changing, it adapted fast to respond to their needs." 

But faced with competitors like Airbnb, Google, TripAdvisor and food delivery services like Deliveroo and AlloResto, Pages Jaunes is under pressure to attract a younger target under constant assault. In fact, according to Delpuech, Pages Jaunes considers itself a competitor to any and all Uberization of French services. 

That's a lot of enemies. 

"People think it's still a book," admitted Thirache. "It needed to modernize its image to compete."

"We wanted to do something that would feel modern but still relatable," Delpuech said. "Breakbot is part of Ed Banger records, which launched French electronic bands like Justice, Sebastian, and DJ Mehdi. It's helped share French artists throughout the world, and is a modern expression of our culture. For us, Breakbot anchored that modernity." 

Thus a collaboration was born. But how'd they punt the idea? 

"We wanted something emotional that would showcase the beautiful and unique work of local small businesses," said Thirache. "We told them we wanted to respect the artist's vision."

Even if that vision, Delpuech noted, "is an erotic dream. It's a woman who makes a toy that can bring the Kama Sutra to life!" 

To their surprise, Pages Jaunes got it immediately. "It's tricky for agencies to surprise their clients, but they felt it was strategically sound," Delpuech said. "Each scene was built from the ground up by a small-business owner. Normally at a shoot, you want to work with a minimum of people. But we had to turn that around—we needed to find the maximum number of people to get involved."

Over the course of four months, Sid Lee scoured the country to round up the most interesting collaborators. This is the result of that. 

"What we like about Pages Jaunes is that they kept small, local businesses central to their mission," Delpuech said. "One in two French people don't make a doctor's appointment because they don't want to wait. And most people don't know that, like TripAdvisor and Expedia, it contains reviews. Unlike them, those reviews are certified. They're purists. And to help advance small business, 1,900 local commercial counselors exist to help with everything from SEO to building websites."

French hipsters can expect to catch #BreakbotxYellowPages on Elle.fr, Glamour, Rock en Seine and Facebook, not to mention on the sites and videos of influencers. Radio stations are talking about it, too—and rarely play the song without talking about the overall campaign, Delpuech proudly added.

Below are a few subtitled videos of the French businesses that helped make this randy robot tale happen. 

Neon light manufacturers from Chaville:

The Parisian dry cleaner (because it pays to stay fresh):

The costume seller from Soissons:

Anémone, the swimwear designer from Biarritz—because where else would you get your swimsuits, and isn't her name perfect?!

The clothing designer from Paris:

The Parisian florists:

As Breakbot so melodically put it, "Break the rules. Let's do something we never do." 

CREDITS

Client: Pages Jaunes

Agency: Sid Lee Paris:
Executive Creative Director: Sylvain Thirache
Creative Directors: Céline et Clément Mornet Landa
Art Directors: Yoann Plard, Jules Jolly
Managing Partner: Johan Delpuech
Deputy General Manager: Bruno Lee
Account Director: Jean-baptiste Destabeau
Account Manager: Thomas Lec'hvien
Production Director: Thomas Laget
Producer: Pauline Couten
Digital production Director: David Bismut
Digital producer: Clément Cassajus
Brand Management PagesJaunes:
Executive Director: Christophe Pingard
Deputy Executive Director: Julien Ampollini
Brand and Advertising Director SoLocal Group: Gérard Lenepveu
Advertising and Media Manager SoLocal Group: Yann Drumare
Communication Manager: Isabelle Druesne

Production:
Artist: Breakbot
Label: EdBanger Records
Record Company: Because music

Director "My Toy" clip : AB / CD / CD
Production "My Toy" clip: Partizan
Director Brand Content: Dimitri Pailhe
Digital Production: 60fps

Fashion designer: Xénia Gasull
Choreographer: Catherine Ematchoua

Article originally appeared on Adweek Advertising & Branding: Link.