Created by adam&eve\TBWA for Unilever, the limited edition activation temporarily renamed Marmite as “WeMite”, inviting fans to choose a jar based on how far they believed England would progress. It is a simple idea that combines packaging design, football culture and travel behaviour without changing the product itself.

A Jar That Matches Your Prediction

Rather than producing a standard football-themed pack, Marmite created three different WeMite jars, each reflecting a different level of confidence in England’s chances.

Supporters expecting a shorter stay could choose the “WeMite Reach the Quarters” jar. Those feeling more optimistic had the “WeMite Reach the Semis” edition, while believers that England would lift the trophy could pick the largest “WeMite Go and Win It” jar.

The concept transforms a routine shopping decision into something personal. Instead of simply buying Marmite, supporters were effectively declaring their tournament prediction before leaving home.

It is the kind of idea that needs very little explanation. The different jar sizes immediately communicate the joke while giving people something they are likely to share with friends before travelling.

A Small Design Change With a Big Role

The packaging remains unmistakably Marmite. The familiar yellow lid, black jar and recognisable label are all still there, with only one meaningful change. The word “Marmite” becomes “WeMite”.

That small adjustment shifts the focus from an individual product to a shared experience. During an international tournament, football supporters naturally speak in terms of “we”, making the temporary rebrand feel timely rather than forced.

Instead of covering the jar with football graphics or national symbols, the design keeps everything restrained. The simplicity is what makes it memorable.

Taking the Idea Beyond the Shelf

The WeMite campaign was supported by social and experiential activity, helping the idea reach supporters before they even boarded their flights.

As part of the activation, Marmite partnered with Heathrow Express to make the limited edition jars available to fans travelling to Heathrow Airport. It placed the product at exactly the moment people were packing, travelling and preparing for weeks away from home.

That partnership also reinforced the campaign’s central thought. Marmite was presented not simply as breakfast, but as one of the familiar comforts many British travellers like to take abroad.

Morgan McAuley, Senior Brand Manager at Marmite, said the idea was to make sure supporters could still enjoy “a proper taste of home” while following England overseas.

Why the WeMite Campaign Works

Many football campaigns rely on emotional storytelling or dramatic films. WeMite succeeds by doing almost the opposite.

The creative idea lives inside the product itself. There is no complicated mechanic and no lengthy explanation. Fans understand it the moment they see the jars lined up together.

Creative Directors Darren Beresford and Richard Gayton described the inspiration as the thought of England supporters facing American breakfasts without Marmite. That observation provides a light-hearted starting point for a campaign built around travel, optimism and national rituals.

By turning tournament predictions into packaging, the WeMite campaign found a fresh role for one of Britain’s best-known brands. The jars are practical enough to travel with supporters, collectible enough to spark conversations and simple enough to be remembered long after the tournament ends.

Credits
Client: Unilever
Brand: Marmite
Project/Campaign Name: WeMite

Client names and Job Titles:
Claire Racklyeft – Condiments Category Director
Morgan McAuley – Senior Brand Manager
Harrison Doyle – Marketing Assistant
Sean Speczyk – Social Media Manager

Agency: adam&eve\TBWA

Creative:
Ant Nelson & Mike Sutherland – Chief Creative Officers
Matt Gay – Executive Creative Director
Darren Beresford & Richard Gayton – Creative Directors/Creatives
Phoebe Wright – Senior Social Director

Production:
Jaki Jo Hannan – Head of Production
Lindsay Moyes – Producer

Planning:
Will Grundy – Chief Strategy Officer
Sarah Carter – Global Planning Partner
Liora Ingram – Planning Director

Account Management:
Miranda Hipwell – Chief Executive Officer
Flemming Lerche – Managing Partner
Max Sullivan – Business Director
Barnaby Kelly – Account Director

Project Management:
Kirsty Harris – Project Director

Design: adam&eve\TBWA
Scott Silvey – Head of Design
Will Whittington – Designer

PR: W Communications

Retouching: Luke Kirwan, Black Box Studio
Photography: Luke Kirwan, Black Box Studio
Box and Jar Production: Scott Whall, The Hub London.

This campaign is about:
WeMite Campaign, Marmite, Unilever, adam&eve\TBWA, W Communications, Packaging Design, Creative Packaging, Limited Edition Packaging, Packaging Campaign, Brand Activation, Experiential Marketing Campaigns, Football Marketing, Sports Marketing, England Football Fans, Tournament Marketing, Travel Marketing, Consumer Branding, Food Marketing, FMCG Marketing, Creative Campaign, Product Packaging, Brand Experience, OOH Campaigns

The intimate wellness brand’s latest global campaign, “Faces,” is built around a simple but striking observation. Football remains one of the few cultural experiences where people openly express anticipation, tension, joy, disbelief, heartbreak, and celebration without hesitation. For a brief moment, emotional restraint disappears and instinct takes over.

That idea sits at the heart of SKYN’s long-standing brand platform, “Feel Everything.”

The Insight Behind “Faces”

Modern life often encourages people to manage emotions, filter reactions, and maintain composure. Sport offers a rare exception.

For ninety minutes and beyond, supporters become completely immersed in the experience. Their reactions are immediate, visible, and shared with those around them. Faces tell the story before words ever do.

According to SKYN, those moments of complete emotional investment closely mirror the feelings experienced during intimacy. Both situations involve vulnerability, anticipation, connection, and emotional release.

The campaign explores that parallel in a way that immediately captures attention.

During and after the game: When Appearances Can Be Deceptive

At first glance, the campaign’s close-up portraits appear intensely intimate.
Eyes are closed. Mouths are open. Breaths seem suspended between anticipation and release.
The initial impression suggests moments of personal intimacy.
The reveal changes everything.

These are not intimate encounters. They are football fans reacting to the emotional highs and lows of the tournament.

Created in partnership with award-winning creative agency L&C, the campaign uses this visual tension to draw attention to the emotional honesty that football can create. The expressions captured are instinctive reactions from supporters who have stopped worrying about how they appear and simply allowed themselves to feel.

The Science Behind Emotional Investment

The campaign also references research that points to the physical impact of football fandom.

A 2026 study published in Scientific Reports found that supporters attending matches in person recorded average heart rates that were 23% higher than those watching elsewhere. During key moments, heart rates exceeded 100 beats per minute.

Researchers described this response as “football fever,” highlighting how deeply emotional experiences can create measurable physical reactions.

For SKYN, those findings reinforce the campaign’s central idea: the strongest human experiences are often both emotional and physical.

Why “Faces” Works

Many tournament-related campaigns focus on teams, rivalries, predictions, or results.

SKYN takes a different route.
Instead of spotlighting competition, the campaign focuses on what happens inside the audience. The tension before a penalty kick. The anticipation of extra time. The eruption of joy after a decisive goal. The heartbreak that follows a missed opportunity.

These are the moments supporters remember long after the final whistle.

By framing football fandom through the lens of emotional expression, “Faces” creates an unexpected connection between sport and intimacy without losing sight of either subject.

During and after the game, Feeling Everything Becomes the Story

The campaign will run globally across social, connected TV, and digital platforms throughout the tournament.

What makes “Faces” memorable is its ability to find a human truth that exists beyond football itself. The campaign suggests that some of life’s most meaningful experiences are the ones where people stop performing, stop filtering, and simply react.

Whether that moment comes through sport, culture, or intimate connection, the emotions that stay with people are often the ones they never planned to show.

And that is exactly what SKYN chooses to celebrate.

Credits
Brand: SKYN
CEO: Laurent Faracci
CGO: Gregory Chabidon
VP Global Marketing & Innovation: Marta Toth
Sr. Global Brand Manager: Michele Martinelli

Advertising Agency: L&C
Chief Creative Officers: Rolando Cordova / Gian Carlo Lanfranco
Executive Creative Director: Bruno Franchino
Associate Creative Directors: Juliana Laborde / Sarah Knutson
Managing Director: Gino Cochella
Account Director: Cesar Bellido
Junior Art Director: Lucciana Bedoya
Executive Producer: Paul Cordova

Production Company: Fertil
Director: Santiago Chavez
Executive Producer: Tarek Kahhat

This campaign is about:
SKYN Condoms, FIFA 2026, 2026 FIFA World Cup Ads, Condom Ads, SKYN Faces Campaign, Football Marketing, Sports Advertising, Creative Campaign, Emotional Storytelling, Intimate Wellness, L&C Agency, Global Campaign, Brand Strategy.

The initiative set out to find a more effective way to address concerns and help reduce hesitation among the public.

The Insight Behind the Campaign

The strategy was built around a familiar behavior. When people are uncertain about a decision, they often look for reviews and experiences from others before making up their minds.

Drawing from this insight, the campaign used first-hand stories from vaccinated individuals to provide reassurance around common concerns related to the Covid-19 vaccine.

Rather than relying solely on official information, the campaign introduced personal experiences into the conversation.

Turning Experiences Into Reviews

To develop the idea, trending fears and concerns about vaccination were mapped against credible first-hand accounts from people who had already received the vaccine.

These stories were transformed into what the campaign described as the first-ever reviews of the Covid-19 vaccine.

Different individuals addressed different concerns:

• Caregivers shared experiences related to vaccine availability.

• Breadwinners spoke about side effects.

• Seniors expressed their excitement about seeing grandchildren again.

• Parents addressed questions around safety.

The reviews were delivered contextually so that audiences received stories that reflected concerns relevant to them.

How Reviews of Hope Continued to Evolve

As data revealed new fears and questions about vaccination, additional Reviews of Hope were created to respond to those concerns.

This allowed the campaign to continue building a collection of first-hand experiences that reflected the topics people were actively searching for and discussing.

The approach connected search insights with personal stories, helping ensure that the reviews remained relevant to the audience.

Why the Campaign Stands Out

One of the notable aspects of the campaign is the way it applied a familiar review format to a public health challenge.

By drawing on a behavior commonly associated with decision-making, the campaign used personal experiences to address questions around vaccine availability, side effects, safety, and family connections.

The idea was also informed by ongoing search data, allowing the campaign to continue creating new reviews as concerns emerged.

Results

The impact of Reviews of Hope was reflected in both search behaviour and vaccination sentiment.
According to the campaign:

• Positive perception of vaccination increased by 8.6%.

• Google Search data showed a reduction in misinformation-related activity.

• Vaccination rates in Indonesia increased during the campaign period.

• The campaign reached 260 million people over four months across digital and television broadcasting.

• Brand trustworthiness increased by an average of 5% across Indonesia.

Final Thoughts

Reviews of Hope took a familiar consumer behaviour and applied it to a public health issue. By pairing search insights with first-hand experiences from vaccinated individuals, the campaign created a format designed to address concerns through relatable stories.

The work demonstrates how audience behaviour, data, and personal experiences can be combined to support communication efforts around an important public health initiative.

Credits
Brand: Google
Campaign: Reviews of Hope
Advertising Agency: Toaster, Singapore
Media Distribution Company: Essence SEA
Art Director: Vincent Tanara
Associate Creative Director: Adryanto Santosa & Manisha Sharma
Creative Director: Meyvi Wedelia
Executive Creative Director: Vinod Savio
Senior Art Director: Prayudha Bimo Aryotejo
Senior Copywriter: Satria Partala Pamungkas
Senior Motion Graphics Designer: Mujib Jamin
Account Director: Chi Nguyen
Brand & Creative Lead – SEA: Mira Sumanti
Head of Brand Marketing, SEA & India: Samit Malkani
Head of Consumer Apps Marketing: Fida Heyder
Multimedia Designer: Aung Cho Zan
Product Marketing Manager: Renita Pusparini

The Context

The installation was strategically placed in one of Hyderabad’s largest and busiest commercial hubs. In these environments, life rarely pauses, and even breaks are often rushed or spent multitasking. Vending machines are globally recognized as symbols of immediacy, usually dispensing snacks in about three seconds.

Kitkat identified that the modern hustle in India has shortened the traditional break. By placing a deliberately sluggish machine in a high-traffic area, the brand aimed to test whether a forced pause could transform a routine transaction into a meaningful experience.

The Creative Idea

The core insight behind the Slowest Vending Machine in the World is rooted in Kitkat’s iconic “Have a Break” philosophy. Instead of delivering a chocolate bar instantly, the machine invites the user to go on a visual journey. It subverts the expectation of convenience to provide a “scenic break.”

Developed through a collaboration between VML India and VML Netherlands, the project was engineered to make the wait feel like a reward rather than an inconvenience. The goal was to give people a guilt-free moment of wonder, allowing them to simply watch and smile while their snack was prepared.

Execution

The physical machine, brought to life by the Delhi-based production house The Other Half, features a transparent front that reveals a complex, miniature world. Once a user inserts a coin, the Kitkat does not simply drop; it embarks on a leisurely tour of Indian life.

• The chocolate bar travels via a miniature toy train through a crafted landscape.
• It passes through a rotating Ferris wheel, mimicking a local carnival.
• The bar hitches a ride on a vibrantly decorated iconic Indian truck.
• It floats gently along a simulated river before joining a festive procession.
• The entire journey takes significantly longer than a standard machine, forcing the consumer to wait and observe.

Why the KitKat Slowest Vending Machine in the World Works

This campaign succeeds because it uses “friction” as a positive brand attribute. While most brands compete to be the fastest, Kitkat wins by being the slowest. This creates a high level of engagement as passersby stop to see why a crowd has gathered around a vending machine.

The visual storytelling inside the machine resonates emotionally. By using familiar cultural symbols like the toy train and the festive procession, the brand creates a sense of nostalgia and delight. It transforms a solitary act of buying a snack into a shared, immersive event that people naturally want to record and share on social media.

Final Takeaway

The KitKat Slowest Vending Machine in the World serves as a physical manifesto for the Kitkat brand. It proves that even in the middle of a frantic workday, there is always time to pause. By slowing down the delivery of the product, Kitkat successfully increased the value of the break itself.

Credits:
Brand: Kitkat (Nestlé)
Agency: VML India & VML Netherlands
Production: The Other Half
Chief Creative Officer: Kalpesh Patankar (VML India)
Global Chief Creative Officer, Innovation: Bas Korsten

Explore more innovative OOH campaigns

This campaign is about: KitKat Slowest Vending Machine in the World, KitKat, VML, Scenic Break, Creative Advertising, Brand Experience, Outdoor Marketing, Mindfulness in Advertising.

The Heart of the LIKEA Campaign

The LIKEA campaign is a masterful blend of language, creativity, and lifestyle. Drawing inspiration from common idioms that effortlessly weave into our conversations, the campaign spotlights IKEA as the bridge between ordinary moments and extraordinary living. For instance, phrases like “home sweet home” take on new life when paired with IKEA’s stylish, functional products that genuinely make a house feel like a home.

By leveraging the power of familiar sayings and inviting consumers to participate, IKEA transforms from a brand into a collaborator in storytelling. This approach not only triggers curiosity but also fosters a sense of ownership, as people are encouraged to integrate IKEA into their narratives and share their experiences.

The campaign encourages users to share their “____ Like a ____” moments, filling in the blanks with their personal stories. Using a dedicated hashtag, participants can showcase how IKEA products fit into their daily lives, whether it’s organizing a clutter-free workspace “Like a Pro” or enjoying a cozy weekend “Like a Dream.”

Boosting Engagement with UGC

User-generated content (UGC) is at the core of the LIKEA campaign’s success. By empowering consumers to create and share their stories, IKEA amplifies its message without heavy reliance on traditional advertising. UGC not only reduces marketing costs but also adds a layer of individuality and credibility, allowing each post to feel personal and relatable.

A Catalog of Inspiration

IKEA’s extensive product catalog serves as a treasure trove for inspiration. Each LIKEA moment highlights how IKEA’s offerings seamlessly integrate into different lifestyles. From modular furniture that adapts to small spaces to eco-friendly solutions for sustainable living, IKEA products provide the tools for creating better everyday moments.

Why LIKEA Matters

In a world saturated with marketing messages, the LIKEA campaign stands out for its simplicity and relatability. It’s not about aspiring to a perfect future; it’s about celebrating the now. By focusing on the little things that make everyday life better, IKEA reinforces its role as a brand that understands and enhances real-life experiences.

Whether it’s creating a cozy reading nook or organizing a kitchen for effortless cooking, IKEA proves that “better” doesn’t have to be complicated. It’s about making small, meaningful changes that add up to a big difference—like a true partner in everyday life.

Credits
Agency: Ogilvy

Creative Campaign by IKEA, Creative Print Ads, IKEA products

In an era dominated by smartphone usage, Generation Z faces a recurring headache – overheating. Whether engrossed in gaming, binge-watching, or hefty downloads, phone overheating is a pervasive issue. Enter Pepsi, renowned for its refreshing beverages, with an ingenious solution to cool not only individuals but also their beloved smartphones.

Pepsi’s Tech Revolution:
Pepsi’s latest campaign, “Phone Coolers,” introduces cutting-edge technology aimed at combating overheating. The brand literally brought its iconic fridges to smartphones, employing a unique approach to regulate temperatures. Utilizing short and constant longitudinal frequencies reminiscent of traditional fridge sounds, Pepsi’s Phone Coolers effectively moves air particles, bringing down the device’s temperature.

Visual and Auditory Experience:
The campaign unfolded through engaging 30-second videos posted on popular platforms like TikTok and Reels. These videos showcased Pepsi’s refreshing fridges in diverse styles, accompanied by the familiar hum of a fridge. What added to the excitement was the surprise element – the fridge doors opening after a few seconds, inviting viewers to refresh themselves with a Pepsi Zero Sugar available on various delivery platforms.

Nationwide Impact:
To ensure widespread visibility, Pepsi strategically distributed these virtual fridges across the country. From buses and posters to coasters and billboards, the Phone Coolers campaign invited people to not only see but also hear the content. This multi-sensory experience aimed to capture the attention of a generation that craves unique and stimulating content on their smartphones.

Digital Engagement for a Digital Generation:
Pepsi’s innovative initiative specifically targets the elusive 100% digital generation. With a penchant for fresh and engaging content, this demographic is often challenging to impress through traditional advertising. The Phone Coolers campaign cleverly bridges the gap, presenting a creative and interactive way to connect with an audience that values non-traditional brand interactions.

Insights from Pepsi’s Senior Marketing Manager:
Mauricio Bernal, Senior Marketing Manager for soft drinks at PepsiCo, expressed his thoughts on this groundbreaking initiative. “At some point, we’ve all experienced the frustration of our phones overheating. Pepsi has always been there to refresh people, and now we’re extending our refreshment to include a simple yet effective technology. The introduction of Phone Coolers technology through Pepsi Zero Sugar digital fridges is our way of connecting with a generation that’s notoriously challenging to engage due to their preference for unique and non-traditional brand interactions.”

Conclusion:
Pepsi’s Phone Coolers campaign is not just a solution to overheating smartphones; it’s a refreshing take on engaging a generation that craves innovation. By combining technology, surprise elements, and the promise of a Pepsi Zero Sugar, the campaign offers a unique digital experience that resonates with the evolving preferences of today’s smartphone-centric audience. Say goodbye to phone overheating – Pepsi’s got it cooled!

Credits
Agency: Sancho BBDO
Client: Pepsi Colombia
General Creative Directors: Andrés Salamanca, Diego Contreras
Creative Directors: Juan Diego Rivera, Juan David Pérez, Jhonnathan Triviño, Jorge Luna
Copywriter: Juan Diego Rivera
Art Directors: Juan David Pérez, Stephany Toro, Andrea Ojeda, Javier Aparicio, David Montaño
Executive Business Director: Luisa Fernanda Márquez
Head of Business: Kattalina Espinel
Account Executives: Tatiana Gallego
Digital Content Specialist: Santiago Cuellar
Community Manager: Luisa Suárez
Production: Akira

This Advertising campaign is about:
Pepsi, Phone Cooler, Smartphone Overheating, Tech Revolution, Creative Campaign, Generation Z, Digital Engagement, Innovative Technology, Refreshing Experience, Interactive Advertising, Pepsi Zero Sugar, Digital Fridge, Social Media, Short Videos, TikTok, Reels, Nationwide Impact, PepsiCo, Unique Brand Interactions

The Door Step School wanted to inspire kids to believe in the power of school so they created the world’s first ‘Streets Named After Street Kids’.

The teachers at Door Step School selected kids that were excelling at school against the odds. And Door Step School celebrated them by naming the slum streets they lived on, after them! Imagine having a road named after you when you’re only 12 years old. The entire slum community witnessed the road-naming ceremonies inaugurated by a local TV star, politician and a govt. Welfare board official.

India has tens of thousands of slum by-lanes. And none of them have names. Imagine the number of children we could inspire.

The idea was to name the streets in the slums after the kids who were toppers in school. And publicly celebrate these ‘achiever’ children. Entire slum communities were invited to the event, which was held over two days. A famous tv star, a local politician and a bureaucrat found the time to ‘inaugurate’ the new roads, speak to the kids and their parents, and thus motivate the kids to stay in school and build a future for themselves.

Credits
Advertiser: Door Step School
Advertising Agency: FCB Interface, India
Title: World’s 1st Streets Named After Street Kids
Media: Ambient
Category: Education
Geo: India

Thousands of Central American migrants leave their countries searching for a better future, even during the COVID-19 pandemic. Through the language of “Social Distancing”, Amnesty International show the parallel between the distance that saves some people’s lives and how two meters are not enough for the migrant population of Central America.

Credits
Advertising Agency: VMLY&R, Colombia
Brand: Amnesty International
Campaign: Safety Distance
CEO: Catalina Sánchez
CCO: Santiago Cuesta
Creative Director: Cristian Forero Yusti
Art Directors: Andrés Gómez, Jéssica Gómez
Copywriter: Sara Vega Mateus
Illustrator: Mateo Aguirre

Credits
Client: Greenpeace
Advertising Agency: Pedro Juan y Diego

For teenagers sending nudes through social media had become so common that it even became part of the slang.
Especially on platforms such as Instagram, snapchat or even messenger. And they felt “safe” because they could always delete them. Or couldn’t they? Little did they know that a picture stays for a moment on your phone but forever on the web. The truth is that online data can not be deleted, and they never become past. So think before sending.

Credits
Brand: Kids@safety by WIND Telecommunications
Campaign: Nude Paintings
Advertising Agency: The Newtons Laboratory, Athens
Creative Directors: Giannis Sorotos
Art Director: Dimitris Vikelis
Copywriter: Daphne Martinou
Account Director: Hara Haritanti
Account Executive: Virginia Kanaki

PKU also know as Phenylketonuria, is a rare & hereditary metabolic disease with no cure at the moment. Any protein food, such as meat, fish, milk, or egg, must be eaten in extremely small quantities and with great precision. A wrong amount could cause irreversible brain damage.

Fundación PKU needed to raise funds to finance the design and development of a biosensor to help PKU patients calculate how much they can eat to guarantee that they eat in a safe, non-hazardous manner.

Fundación PKU found the perfect explanation of the disease in its name ( PKU = Protein Kills Us) and created a very impactful campaign with a disruptive and different approach that completely changed the communication codes of the Foundation and the Spanish fundraising and advocacy market.

Credits
Campaign: Protein Kills Us
Category: Print Advertising
Advertising Agency: VMLY&Rx, Madrid/Barcelona, Spain

The idea is to print the single-use plastic bags with logos or images of the other embarrassing stores like adult-film stores, colon care clinics, ointment stores, adult toys stores, etc. The impact of this simple campaign has been huge. It is that 96% of the customers have already started bringing in reusable bags. The campaign has received global media coverage and 200 million hits worldwide with simple investment and zero advertising.

View this post on Instagram

A post shared by East West Market (@eastwest.market)

With creativity, great things happen. The campaign has a very creative way of spreading a strong message of finding substantial ways of living. Climate change is majorly caused by the amount of waste we generate. This can be drastically reduced if we can figure out similar ways of getting people to think.

#plasticpollution #plasticfree #zerowaste #plastic #savetheplanet #sustainability #recycle #ocean #environment #nature #pollution #beatplasticpollution #sustainableliving #saynotoplastic #noplastic #savetheocean #singleuseplastic #oceanconservation #beachcleanup #eco #ecofriendly #plasticocean #trash #reducereuserecycle #plasticpollutes #sustainable #gogreen #breakfreefromplastic #climatechange

Credits
Advertiser: East-west market
Campaign: Embarrassing plastic bags
Advertising Agency: Rethink, Canada

Awards:
D&AD Graphite Pencil in Print
Cannes Lions Shortlist in Print
WAVE Silver in Print
EL SOL Silver Award in Print
One Show Merit in Magazine Campaign

Credits
Client: The Womanity Foundation
Campaign: Don’t Blame The Clothes
Advertising Agency: J. Walter Thompson, Brazil
Chief Creative Officers: Rodrigo Grau, Ricardo John
Executive Creative Director: Humberto Fernandez
Creative Directors: Mariana Borga, Erico Braga
Art Director: Gabriella Marcatto
Copywriters: Mariana Borga, Eveline Farina, Mariana Carvalho
Account: Thiago Galdi, Caroline Amaral, Enrico Cavallari, Luisa Tofeti
Media: Camila Bertoli, João Dabbur, Gabriela Amato, Nathalia Silva
RTV Director: Márcia Lacaze
RTV Producer: Patrícia Motta
Photographer: Gabriel de Moura
Production: PICT Estúdio
Client Approval: Tiana Vilar Lins

This campaign is about:
Award winning print campaign, Print ad, Awareness campaign, JWT, Creative Advert, Creative Campaign, Creative Advertising

Understandably, the intent behind feeling sorry for disabled individuals is not malicious. Nonetheless, it still has a negative effect. So, we need to do better than labelling people unlucky for what they cannot change. We need to remind them that life’s opportunities are open for all. Irrevocably, fulfilling sex life is part of the promise. Sex Against Humanity acts as a case-in-point here. It uses the creative brainpower of the minds at EFAP, Paris, and deploys humour to foster inclusiveness. How exactly? Well, by simply using a deck of cards that makes jokes about disability and sex. Though simplistic, Durex’s intervention helps society to love and laugh together. Thus, we’re more than happy to spread the word about it.

Tags:
Sex and disability, Health, Sexual Health, Wellness, Digital Film, Creative campaign, Direct Marketing, Advertising Campaign, Durex Ads, Best Durex Ads

To help bring this message and call-to-action to life, Mucinex, working with McCann New York and McCann Health New York, launched the third phase of its new public health information campaign to help Americans fight through this health crisis. As it has in its previous campaigns, the brand and its creative agencies, McCann New York and McCann Health NY, have partnered with acclaimed artist Noma Bar, who has created a new collection of highly imaginative and thought-provoking images that deliver information and inspiration to consumers across the U.S.

Noma Bar’s new collection of images brings to life the PSA campaign messages in ways both entertaining and thought-provoking. With drawings that utilize Bar’s famous “double entendre” style, coffee mugs, cruise ships and computer screens double as masks, with copy that asks, “Miss coffee with friends?” “Miss cruise holidays?” and “Miss the office?” bringing to life the “Getting Back to Normal is Up to You” campaign focus and the call to action to “Wear a Mask.”

“Everything we do at Mucinex is informed by science and data, and as with our first two campaigns, we turn to art to deliver our fact-based messages,” said Claudine Patel, Vice President, Marketing for Mucinex. “With increasing evidence that face masks are some of the most powerful tools we have to slow the spread of the virus, Noma’s art helps spread the message that it’s up to all of us to help fight this global health crisis together in order to get our lives and world back to normal.”

Credits
Advertising Agency: McCann Health New York, USA
Chief Creative Officer: Tom Murphy
Executive Creative Director / EVP: Maru Kopelowicz
Associate Creative Director: Francisco Valenzuela Barrera
Associate Creative Director: Peter Sherer
Producer: Gabrielle Levy
President: Leo Tarkovsky
Group Strategy Director: Zulay Tomasiello
Strategy Director: Elissa Aguirre
Group Account Director / SVP: John Danbeck
Account Director / Vp: Claire Hogan
Senior Account Executive: Katie Hildebrandt
Account Executive: Nick Duran
Business Manager: Madeline McCarty
Project Management / Associate Director: Jessica Avery
Illustration: Noma Bar
Represented By: Dutch Uncle

Tags:
Print, United States, Health, Pharmaceutical, Public Interest, Mucinex, McCann, Health, McCann Health, Advertising, Creative, Illustration, Advertising Agency, Print Ad, Creative Campaign, COVID-19, Coronavirus