The Singapore-based independent brewer did not need to produce those films itself. Instead, it gave people the instructions to make them. The idea put a simple question at the centre of its advertising: if anyone can create an impressive-looking commercial with AI, why spend a fortune making one?

Brewlander A.I. Irresponsibly Turns Advertising Into a Creative Tool

Beer advertising often relies on polished visuals, cinematic films and celebrity appearances to make a brand stand out. For an independent brewer, matching that level of production spending can be difficult.

Brewlander chose to challenge the expectation rather than compete on the same terms. Its campaign used generative AI to turn the production process into something the audience could take part in.

The brand placed detailed prompts across outdoor media and print. People could type the instructions into text-to-video platforms or photograph them to use later. The prompts were designed to help users generate their own cinematic beer ads.

This made the media itself part of the idea. A billboard was no longer just a surface carrying a message. It became a starting point for creating content.

The Audience Made the Commercials

The interesting part of A.I. Irresponsibly is the change in roles between the brand and its audience.

Brewlander supplied the creative direction through its prompts, while participants used AI tools to produce the films. Rather than commissioning a traditional series of commercials, the brand invited people to make their own versions.

This approach has a useful precedent in other forms of AI advertising. In Heinz A.I. Ketchup, AI-generated imagery became the basis of a campaign built around how people and artificial intelligence picture the familiar product. Brewlander takes a different route, using AI not just to generate advertising assets but to invite people into the production process itself.

The technology also served a specific brand position. Brewlander wanted to invest its resources in brewing better beer rather than spending heavily on advertising production.

People could experience that argument rather than simply read it in a brand message. The prompts gave them a practical way to see how AI could change the process of making a commercial.

Why the Idea Fits Brewlander

For a smaller brewer competing against global beer brands, trying to outspend established players would be a difficult strategy to sustain.

A.I. Irresponsibly offered another way to compete for attention. It used a shift in technology to make the difference in production budgets part of the creative concept.

The campaign also avoided treating participation as an afterthought. The prompts were built into the media, giving people a direct way to move from seeing an ad to making one.

According to the campaign case study, participants who generated films could unlock exclusive discounts. This connected the creative activity with a potential purchase, rather than leaving it as an isolated social media stunt.

The broader principle is not entirely new. BT Sport’s Unscripted campaign used AI and sports data to build a campaign around the unpredictability of football. Both examples show how technology can help shape the central creative idea rather than simply provide a new production tool.

For Brewlander, the distinction was especially relevant. The brand was not trying to prove that it could produce a bigger beer commercial than its competitors. It was making a case for why it did not need to.

The Reported Results Behind Brewlander A.I. Irresponsibly

The campaign case study reports a 32% increase in brand awareness and more than 500 AI-created ads. It also estimates that Brewlander avoided $5 million in production costs by replacing traditional film production with audience-created content.

The case study further reports that the discount mechanic contributed to increased trial and repeat purchase, alongside improvements in consideration and positive sentiment. However, it does not provide the underlying research methodology, baseline figures or a detailed breakdown of the cost calculation on the published page.

These numbers should therefore be understood as campaign-reported results rather than independently verified measurements.

The more than 500 generated ads offer an indication of the participation the campaign was designed to encourage. The awareness and commercial figures address different outcomes and would need supporting measurement details to establish the scale and attribution of the reported impact.

The campaign was also recognised at The One Show 2026, receiving a Bronze Pencil in the Integrated / Omnichannel Campaign category. The official One Show case study provides the campaign background, execution details, results and credits.

The Real Test Is What People Choose to Create

Brewlander A.I. Irresponsibly makes a stronger point about advertising than simply showing what AI can produce. It changes who gets to make the commercial. The brand supplies the direction, but the audience gets to interpret it.

That shift is particularly relevant for an independent brewer competing in a category where polished films and familiar advertising codes can demand significant investment. Instead of treating its smaller production ambitions as a limitation, Brewlander made them part of the idea.

There is a trade-off, though. Giving people the tools to make beer ads does not guarantee that every result will be distinctive, memorable or recognisably Brewlander. The creative challenge is no longer just producing the film. It is giving people a prompt worth using and a reason to associate what they create with the brand.

That is where the campaign’s success should ultimately be judged. The reported volume of AI-generated ads suggests participation, while awareness and commercial impact require their own evidence. Making content easier to produce is a useful starting point. Making the brand harder to forget is the bigger achievement.

Explore more creative work in Film and Video Campaigns.

Credits
Brand: Brewlander
Campaign: Brewlander A.I. Irresponsibly
Agency: BLKJ Havas Pte Ltd, Singapore
Art Director: Casimir Simon
Chief Creative Officers: Joji Jacob, Sachin Talwalkar
Copywriters: Guilherme Machado, Anette Lok
Executive Creative Directors: Guilherme Machado, Khalid Osman
Strategy Director: Skanda Lokeshwaran
Business Director: Vivien Foo
CEO: Rowena Bhagchandani

Presented around New York Climate Week, the project responds to the increasingly familiar sight of flooding in the city and asks a strange but direct question: what happens when emergency equipment becomes part of everyday life?

From Everyday Tote to Life Jacket

At first glance, LIFELINE looks like a bright orange tote. A central zip allows the bag to open so it can be worn over the head. Pulling its straps activates the inflation system, transforming the bag into flotation equipment.

The idea came from artist and creative director Philip Le Brun, who developed the project with artist, designer and architect Gabriela Mestriner and a wider group of creatives.

The object was made using upcycled materials, including a life vest. The development process involved testing different materials, inflation systems and proportions before arriving at the final form.

The result deliberately sits somewhere between fashion accessory and emergency equipment. It looks familiar enough to disappear into everyday life, yet its purpose changes completely when it is needed.

An object for a future nobody wants

That contrast is central to the idea.

A life jacket normally belongs in a boat, aircraft or emergency kit. A tote belongs on a shoulder, in a supermarket or on a commute. Putting the two together creates an uncomfortable picture of a future in which preparing for extreme weather could become as routine as carrying a laptop or groceries.

The creators describe the underlying idea as an “essential that shouldn’t exist.”

LIFELINE is not presented as a commercial product or a practical answer to flooding. It is a conceptual object that brings the possibility of emergency preparation into a setting where it feels completely out of place.

That makes the idea particularly effective. Rather than asking people to study another warning about climate risk, it gives that warning a physical form that can be carried, worn and understood almost instantly.

The same principle can be seen in other creative work that turns familiar objects into responses to real-world problems, such as urban safety initiatives.

Designed to look familiar

The orange colour and simple tote silhouette help the idea land quickly. There is no complicated interface or futuristic form to decode.

The transformation is the message.

A person carries an ordinary bag. The situation changes. The bag changes with it.

That simplicity also gives the project a strong visual language for photography, film and public communication. Rather than explaining the idea through charts or statistics, LIFELINE turns it into something people can immediately picture themselves using.

The project was created as a one-off concept and is not for sale. Its value is therefore less about commercial utility and more about the conversation created around it.

The Bag Is the Warning

LIFELINE works because the message is built into the object itself.

The creative tension comes from putting two things together that normally have nothing to do with each other. A tote represents routine. A life jacket represents danger. The moment they become the same object, the distance between everyday life and emergency preparation becomes much smaller.

That is what gives the concept its edge. The bag does not need to explain what climate risk means. Its transformation does that work.

There is also a useful restraint in the idea. LIFELINE does not claim that a tote can solve flooding. Instead, it makes people imagine what it would mean if conditions became serious enough for an object like this to feel necessary.

For a one-off conceptual project, that is a strong creative proposition. The most memorable part is not the mechanism inside the bag. It is the thought that something so ordinary might someday need a second life.

The idea sits within a broader tradition of creative problem-solving, where an existing object or cultural habit is redesigned around an unexpected need. Mukhota is another example of familiar form being given a new safety function.

Credits
Brand: LIFELINE
Campaign: THE SELF INFLATING TOTE
Concept & Creative Direction: Philip Le Brun
Art Direction, Bag Design & Performance: Gabriela Mestriner
Film & Editing: Jack Inzer
Photography & Image Production: Emmett Orgass
Visual & Interactive Design: Julia Albuquerque
Styling: Lucila Hernandes

When the pizza box becomes part of the experience

Pizza Platform was created for festival season in Ecuador by BBA Ecuador. The idea starts with concertgoers under 1.65 metres tall, who can struggle to see the stage in a crowded venue. Instead of trying to change the stage or add equipment to the venue, the campaign changes the role of the pizza box.

The packaging was reinforced with an internal structure so it could be folded into a portable platform. According to the campaign information, the redesigned box can support up to 105 kg.

That makes the packaging more than something used to carry the pizza home. After eating, fans can fold the box and use it to gain some extra height at the concert.

A simple outdoor idea with a physical payoff

Outdoor advertising often has to compete for attention in busy physical environments. Pizza Platform takes a different route. Rather than putting another message in front of people, it creates something that can become useful within the environment itself.

The idea also fits naturally with the setting. A concert is one of the places where height can directly affect the experience. A person standing behind a taller crowd may have little control over what they can see. Giving them a compact platform turns that frustration into a practical interaction with the brand.

The packaging is also doing most of the communication. There is no need for a complicated product demonstration once the box is in the hands of a concertgoer. The transformation is the idea.

From pizza packaging to concert utility

The campaign information says the platforms were distributed during festival season in partnership with concert promoters. Fans could order their pizza, eat it and then transform the box at the venue.

That sequence gives the campaign a useful rhythm: pizza first, platform second.

It is a small but important detail because the promotional object does not feel completely separate from the product. The pizza box remains recognisably connected to Pizza Hut while taking on a second purpose.

This is where Pizza Platform becomes interesting as outdoor work. The medium is not simply a billboard, poster or screen. The branded object enters the physical experience and changes how someone interacts with the space around them.

The strength is in the restraint

There is no need to build an elaborate new product around the idea. Pizza Hut takes an existing piece of packaging and gives it another job.

That makes the concept easy to understand. You see the box, understand what it can become and immediately understand why someone at a crowded concert might want it.

For a food brand, it is also a useful reminder that packaging can carry an idea beyond the moment of purchase. Here, the box becomes part of the event itself.

Pizza Platform was published in Ecuador in September 2026 and was created for Pizza Hut by BBA Ecuador.

Credits
Agencia: BBA
Chief Creative Officer (CCO): Bryan Recalde
Directora General de Cuentas: Francisca Frisch
Gerente de Operaciones: Francisco Villamarín
Director General Creativo: Luis Barrera
Director General de Arte: Edwin Simbaña
Redactor Creativo: Abel Ramírez
Animación Multimedia: Juan Pablo Solorzano
Diseño Gráfico: Iván Terán, Wilson Caguana
Directora de Cuentas: Andrea Espinoza
Ejecutiva de Cuentas: Florencia Gallegos
Producción: Fabryca
Team Digital: Johan Bonilla, Dayana Miño, Isaí Hidalgo
Cliente: Belén Albuja

Picture the supermarket industry as a game where the big players scatter stores across every corner like confetti. Now imagine Makro—leaner, smaller, and armed with only 22 stores—trying to keep up while competitors enjoy gigantic ad budgets. With just 4% of the category’s media spend, Makro was playing on hard mode.

But instead of trying to shout louder, Makro decided to think sharper.

And that’s how ADSCAN was born — not as a typical campaign, but as a disruptive retail tool that hijacks the entire advertising landscape and flips it in Makro’s favor.

The Underdog Problem: Competing Against Giants With Deep Pockets

Let’s imagine the supermarket game as a race. Most big chains sprint ahead with endless stores and heavy ad investments. Makro, on the other hand, starts far behind—fewer stores, smaller footprint, and a budget that looks tiny compared to the rest of the category.

The numbers say it all:

• The category has 3,688 total stores. Makro has 22.
• Competitors spend USD 34.5MM in media. Makro spends USD 1.4MM.

So how does a challenger brand stay relevant?

By refusing to play the same game.

The Big Idea: If Everyone Is Advertising… Why Not Make Them Work For Makro?

Makro realized something brilliant:
Almost every product that brands advertise—on TV, online, billboards, magazines—is already on Makro’s shelves.

So what if Makro could turn those ads into its own selling tool?

That spark of insight led to ADSCAN, a clever digital innovation that lets shoppers scan any brand ad and instantly unlock a discount for that product at Makro.

Competitors advertise. Makro sells.
It’s one of those ideas so smart you wonder why no one thought of it sooner.

How ADSCAN Works: Simple For Users, Powerful Behind The Scenes

ADSCAN feels effortless for shoppers, but behind the curtain, it’s powered by some serious tech muscle.

1. Scan Any Ad—Literally Any Ad
A magazine page, a billboard, a YouTube pre-roll, a poster at the bus stop…
If the product is in the picture, ADSCAN recognizes it.

2. Google Vision Cloud Does the Reading
The tool analyzes the image and identifies the product.

3. OpenAI Does the Thinking
It cross-checks Makro’s inventory and instantly matches the scanned product to available stock.

4. Users Get a Discount or Offer
Plus the option to compare prices or build a virtual cart.

The twist?
The more brands flood the world with ads, the more Makro benefits. Instead of competing with the noise, Makro uses the noise.

A Strategy That Turns the Industry Upside Down

ADSCAN redefines what retail innovation looks like. Instead of investing millions to buy visibility, Makro uses the visibility brands already pay for.

It’s a clever loop:

• Brands advertise heavily.
• Consumers see the ads.
• ADSCAN turns those ads into Makro-powered discounts.
• Makro boosts sales—without buying the media.

This isn’t just creative marketing. It’s strategic jiu-jitsu.

The Results: When Creativity Beats Budget

Makro didn’t just solve a problem—they unlocked a new kind of commerce model. And the projections prove it:

• USD 1.1 million saved in Makro’s media expenses
• 20,000 new customers expected each year
• USD 15.7 million of brand media value redirected toward Makro’s sales

This is what happens when a brand stops competing with the category and starts reinventing the rules.

Conclusion: ADSCAN Shows That Innovation Always Beats Imitation

Makro’s ADSCAN is the perfect example of how an underdog can outplay industry giants without matching their budgets. By blending insight, technology, and a bit of mischief, Makro turned the advertising world into one giant shopping aisle.

In a market where everyone is shouting, Makro found a way to listen—and use every ad, from every brand, as an invitation to shop.

ADSCAN isn’t just a tool.
It’s a retail revolution disguised as a simple scan.

Awards: Merit (2025), The One Show

This campaign is about:
Makro Ads, Retail Innovation, Creative Campaigns, Smart Shopping Tool, Digital Commerce, Marketing Technology, Image Recognition Retail, Advertising Strategy, Creative Retail Solutions.

The video was produced in support of nonprofit Path Forward to help empower moms to restart their careers.

In The Mother of All Reviews, six unsuspecting working moms show up to their scheduled performance reviews, only to be brought to tears when they realize the reviews are from their families–not their colleagues. Their children and partners pre-recorded their feedback–messages of love and appreciation ranging from: “She was truly our Pandemic Czar” and “the matriarch of our entire team” to “She never gives up on achieving her goals.” The moms were captured on a hidden camera reacting with astonishment and tears of joy.

To help celebrate the amazing contributions of working moms and all moms, the feel-good three-minute production ends by encouraging viewers to pay tribute to the moms in their lives. It also directs mothers, who may have put their careers on hold to care for their families during the pandemic and are looking to restart their careers, to visit PathForward.org.

Credits
Agency: Klick Health
Brand: Path Forward
Campaign: The Mother of All Reviews

Tags: Mother’s Day Campaigns, Mother’s Day Ads, Creative Campaigns, Klick Health, Digital Video, Outdoor Campaign

Ariel: When we #SeeEqual, we #ShareTheLoad

Why is it easier for men to divide household responsibilities with each other but not with their wives? 83% of women feel that men don’t see women as equal when it comes to housework. Continuing the conversation on equality within households, Ariel launches the 5th edition of #ShareTheLoad to urge men to drop their biases. Because when we #SeeEqual, we #ShareTheLoad

Levi’s: Because of You, #IShapeMyWorld

When one woman shapes her world, she paves the way for other women to shape their own fearlessly. For Mandira Bedi, Hima Das, Tanya Appachu and Dr Kriti Bharti, their worlds have been shaped by women who paved a path for them. Today they can say – Because of You, #IShapeMyWorld.

Vivo: This #WomensDay let’s celebrate the #JoyOfEquality

A woman. Her many roles as a mother, sister, wife, daughter face discrimination of various kinds throughout her life are known to us. Society’s invisible lens of inequality moulds her to pose as the perception of what a perfect woman is in its eyes.

Tata Pravesh: Soch Badlo

The campaign theme for International Women’s Day [IWD] 2022 – #BreakTheBias – encourages us to imagine a gender-equal world, free of bias, stereotypes and discrimination. A world that is diverse, equitable and inclusive.

Prega News: She Can Carry Both

Being a mom is extremely rewarding, but does that ever take a toll on your ambitions and dreams? This Women’s Day with Prega News, it’s time to break free from the nay-sayers of society and bring in confidence to women that #SheCanCarryBoth!

Google: #SearchForChange – Google India

Sometimes just one voice, brave enough to speak up and find the answers can create a wave of change. Presenting Manjha – an ode to those who #SearchForChange ❤️ @TheRajaKumari @swanandkirkire @thehappydance @joyeetad17 pic.twitter.com/cx1z7h5iVm

— Google India (@GoogleIndia) March 7, 2022

Oyo Rooms

 

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Tags: Wunderman Thompson, Vivo Joy Of Equality, Women’s Day 2022, creative campaigns, Gender Bias Ads, Gender Equality Ads, Levi’s I Shape My World, Google Search For Change, Brand campaigns, #IWD2022, International Women’s Day

Credits
Advertising School: EFAP, Paris, France
Copywriter, Art Director: Charles Peltier

Credits
Advertising Agency: FCB&FIRE, Buenos Aires, Argentina
CCO: Lulo Calio
Creative Director: Zim Hernández
Creative Director: Fermín Varangot

Tags:
Argentina, Media, Netflix, FCB, FCB&FIRE, Netflix Chaos, outdoor campaign, Ambient Marketing, Creative Campaigns, OOH Advertising, Best Outdoor Advertising Campaigns, Best OOH campaigns, Best Outdoor Ads

Now, coming back to IKEA Pee Ad that ran in Sweden urging women to pee on the ad to know if she is pregnant or not. If she is then the ad reveals a hidden text showing a discounted rate on a baby crib. Åkestam Holst is the agency behind the idea and Mercene Labs behind the tech for the ad. Just so you know, they tested the tech and ad multiple times with pregnant women’s urine samples. We feel this is such a cool, private (without making women feel uncomfortable) and interesting way to offer an affordable solution to pregnant women.

Read More Here

Credits
Brand: IKEA
Campaign: IKEA Pee Ad
Entrant Company: Åkestam Holst NoA
Agency Network: The North Alliance
Production Company: Åkestam Holst NoA
Advertiser Brand: IKEA Sweden
Campaign: IKEA Pee Ad
Executive Creative Director: Magnus Jakobsson
Art Director: Evelina Rönnung
Art Director: Hugo Wallmo
Account Executive: Kjell Månsson
Account Executive: Mimmi Morén
Public Relations Director: Ida Persson
Designer: Anna Forsberg
Cinematographer: Nisse Axman
Producer: Henrik Adenskog

Tags:
Print, Sweden, IKEA, Åkestam Holst, CLIO 2018, IKEA Pee Ad, Print Advert, Print Campaign

The ad has managed to create a considerable amount of online buzz for Coca-Cola. The ad is a digital innovation in itself as it shows us how far we can go with marketing and give customers a great brand experience. It has always made the best use of latest technologies and attracted huge users from their social media marketing campaigns that relates Coca Cola to be used at various events/occasions through its creative campaigns.

The advertising agency has depicted a wonderful use of latest technology and background scenes. The advertisement is based on the two scientists who have returned to the planet earth to find out the signs of life and they can be seen searching in various regions from oceanic beaches to deserts and snowy mountains. After efforts of so many days, one of the scientists gets out a fresh flower from the dig-hole and expresses a smile of success but she is stunned with the sound of Coca Cola that is found by the other scientist standing behind her. Definitely, the flower is left and the coca cola fridge is taken to the other planet as a proof for the sign of life on the planet earth. It can be one of the best digital campaigns and a mixture of creativity marketing. Yes, you can live here again.

Credits:
Brand: Coca-Cola
Campaign: Signs of Life
Written & Directed by Daniel Borovkov
Produced by Fabien Colas
Director of Photograpy: Eddie Thomas
Drone Operator: Chris Lethbridge
Editor: Facundo Sanchez & Daniel Borovkov
Sound Design: Facundo Sanchez
Music: Alessandro Sotgiu
Color Grader: Liz Fornango
VFX: Vardan Karapetyan
Costume Design & Props: Philipp Rempesz (Stuph) & Victoria von Hundt
Location Service Iceland: Pétur Bjarnason (Labrador)

Scientists: Emilis Reciuga & Siobhan Antoinette

This article is about:
Coca-Cola, Creative Campaigns, Best Advertising Campaigns, Digital Innovation, Advertising Agency, Film, United States, Non-Alcoholic Drinks

Ali Hanan, the CEO of Creative Equals, clarified that through their initiative they didn’t intend to bring down or malign any brand, rather they want to start a conversation about more women and more female representation in the creative industry. The changed logos do bring a fresh perspective to the brand image and compel one to think about how different and meaningful these logos look with a female image.

Check out the transformed logos here:

We hoped you gained a fresh perspective because we sure did. Shout out to the organization for making such an important point in such a creative way. Here’s hoping to see more female representation in the advertising industry.

This Women’s Day Article is related to:
Feminism, Women, Brands, Dreamworks, Pringles, Monopoly, Schwarzkopf, Oscars, Bafta, Black Label, Creative Equals, McDonald’s, Johnnie walker, International Women’s Day, Campaigns, Creative campaigns, Print, MTV

In Quebec, cyberbullying affects an increasing number of teens and young people. To raise awareness among the population, the Fondation Jasmin Roy whose mission is to fight bullying and violence at school wanted to communicate its message in an impactful and evocative manner.

A series of posters showing students at school that are looking at their mobile phones was created. On each poster, the student’s hand reveals a shape that visually illustrates the extent of the harmful repercussions of cyberbullying. The students’ photos are strongly supported by the tagline – Cyberbullying affects too many youth. We must report it – which is direct and powerful, and reminds us all that cyberbullying shall be promptly reported.

The message is simple yet emotionally charged, and assuredly strikes a chord.

Print advertisment created by Ogilvy, Canada for Jasmin Roy, within the category: Public Interest, NGO.

Credits:
Brand: Fondation Jasmin Roy
Advertising Agency: Ogilvy, Montréal, Canada
Creative Director: Etienne Bastien
Art Director: Pacha Ducharme
Copywriter: Étienne Soucy
Illustrator: Benoit St-Laurent
Photographer: Jean Malek
Account service : Allison Demouchy

This Print Campaign is related to:
Cyber harassment, Fondation Jasmin Roy, Ogilvy, Montréal, Canada, Print Campaign, Print Advert, Creative Campaigns, Advertising, Creative advertisements​, Creative design ideas, Creative Print Ads, Print Ads

The Same God

Fair Play

Influencers

Credits:
Brand: Uber
Campaign: You get more sharing moments. UberPOOL
Advertising School: Escola Cuca, São Paulo, Brazil
Art Director / Illustrator: Ricardo Garrido
Addition Credits: Thiago Urdan

This Print Ad related to:
Print, Brazil, Transport, Uber, Escola Cuca, Student Ad, Creative Print Ads, Print Ads, Uber campaigns, best print ads, Uber sharing, Illustrations, Donald Trump, Kim Jong Un, Creative campaigns, best ads, caricature, Uber Adverts, Uber Commercials, Tourism, Influencer campaign, Fair Play, The Same God, UberPOOL

Credits:
Advertising Agency: CumminsRoss, Australia
Executive Creative Director: Jason Ross
Art Directors / Copywriter: Ed Howley, Toby Cummings
Group Account Director: Magdalina Triantafyllidis
Photographer: Garry Moore
Chief Executive Officer: Sean Cummins
Account Manager: Andrew Stone