Created by Accademia Delle Arti e Nuove Tecnologie as a student-led concept for Supercell’s Clash of Clans, the idea imagines a global digital and integrated campaign where every Builder suddenly disappears from the game. Construction freezes. Villages go quiet. Players are left with a question that feels strange because it interrupts something so routine inside the game: where did the Builders go?

The answer is built for entertainment culture. They have not quit. They are working on something bigger, the first Clash of Clans original series on Netflix.

A gaming habit becomes the campaign trigger

The smartest part of The Epic Build campaign is that it does not begin with an ad. It begins by interrupting player behaviour.

In Clash of Clans, building is not a side feature. It is part of the daily rhythm. Players log in, start an upgrade, wait, return, repeat. The Builder is almost invisible because the role is so constant. By removing that certainty, the campaign gives players a reason to care before any reveal happens.

The in-game pop-up becomes the first crack in the routine. Construction is frozen. The Builders are gone. No long explanation, no heavy launch message, just enough disruption to make players talk.

That is where the idea feels sharper than a standard entertainment tie-in. Instead of placing a Netflix announcement over the game, the campaign makes the game world behave as if something serious has happened inside it.

From missing posters to leaked sightings

The campaign then moves outside the screen. Guerrilla-style “Missing” posters appear in major global cities, treating the Builders like real-world characters who have vanished. It is a simple move, but it gives the digital mystery a physical presence.

The same idea continues through social media, where leaked-style videos show the Builders in ordinary places away from the village. They are not upgrading walls or working on defenses. They are seen in everyday, non-work settings, which adds humour without breaking the mystery.

This is where the campaign earns its integrated label. The pieces are not random touchpoints. Each one carries the same question forward. The game freezes the action. The posters make the disappearance public. The leaked videos turn the Builders into characters people can follow.

The Netflix reveal lands because the silence was staged first

The campaign’s final reveal explains the disappearance through an immersive in-game video and digital OOH billboards in iconic locations. The Builders were never missing. They were building a new reality on Netflix.

That line of thinking gives the campaign a clean payoff. It links the act of building, the Builders’ identity and the launch of a new entertainment property in one move. For a brand like Clash of Clans, which already has a rich visual world and recognisable characters, the idea makes sense because it does not need to borrow attention from outside. It uses something players already understand.

The Epic Build campaign also avoids the usual trap of game-to-screen promotions. It does not simply say a series is coming. It stages the announcement as an event inside the game’s own logic. For players, the reveal feels like a continuation of the experience, not a separate marketing push.

Why the idea works for Clash of Clans

Clash of Clans has always been about progress, waiting, upgrading and planning. The Builders sit at the centre of that loop. By making them disappear, the campaign creates a temporary absence that players would immediately notice.

That absence is the hook.

The campaign understands that long-running games are full of habits, and habits can become media moments when they are disrupted with care. It also gives the Builders a bigger role than usual. They are no longer background workers. They become the face of the story.

For a Netflix series reveal, that shift is useful. It turns a functional game mechanic into an emotional and narrative device. Players are not just told to watch something. They are invited to solve a mystery that begins in a place they already visit.

A student concept with a real brand-world instinct

As a student-led concept, The Epic Build campaign carries the confidence of a major entertainment launch. It feels built for a fandom that enjoys clues, speculation and playful disruption.

The campaign also shows a strong understanding of how modern gaming audiences respond. They do not only consume announcements. They screenshot, decode, share, joke and react in real time. A frozen village, missing posters and leaked Builder sightings all give them material to work with.

The strongest lesson here is simple: when a brand has a living world, the best campaign may not sit outside it. It may come from changing one familiar detail and letting the audience feel the difference.

Credits
Brand: Supercell
Product: Clash of Clans
Campaign Name: The Epic Build
Advertising Agency (School): Accademia Delle Arti e Nuove Tecnologie
Creative Supervisor: Giulia Magaldi
Art Director: Alessandro Arnold, Matteo Sinopoli
Motion Designer: Carlo Renato Popescu
Category: Digital and integrated campaign

Not every nutrition lesson begins with numbers. Colorfood begins with color, using a simple visual idea to encourage children to think differently about what goes on their plates.

Created by Auchan with TBWA\Paris, the initiative responds to a growing public health concern by introducing an approach that makes balanced eating easier for children to understand. Instead of leading with restrictions or complex advice, the campaign presents healthy eating through a language that is familiar, playful, and easy to recognise.

Colorfood Responds to a Growing Concern Around Children’s Nutrition

The campaign is grounded in figures published by the French National Health Insurance in February 2025. According to the study, 20% of children between the ages of 6 and 17 in France are overweight, including 5.4% who are obese. The report also warns that, without effective action, one in three children in France could be affected by 2030.

Alongside larger portions and meals with higher energy density, the study points to another issue. Highly processed, monochrome foods have become increasingly common in children’s diets. Often referred to as “beige food,” these meals have gradually replaced the variety that contributes to a more balanced diet.

Rather than approaching this challenge through warning or restriction, Colorfood introduces a different perspective. The campaign is built around one clear idea: a balanced meal is a colorful meal.

A Simple Creative Idea That Makes Nutrition Easier to Understand

The strength of the campaign lies in its simplicity.

With support from nutritionists and health specialists, Auchan developed an educational approach that encourages children to combine different food groups when building a meal. The recommended balance includes:

• Protein: 80 g
• Carbohydrates: 40 g
• Vegetables: 80 g
• Fruit: about the size of a clementine or kiwi
• Dairy: 125 g of yogurt or 30 g of cheese

Rather than asking children to remember nutritional guidelines, the campaign gives them something more immediate to look for. A plate filled with different colors becomes an easy way to think about variety, helping reinforce the importance of combining food groups as part of everyday eating.

Bringing the Idea Beyond the Plate

Developed by TBWA\Paris, the campaign extends the same idea across multiple touchpoints, including in-store activations, a music video, and social media.

Launching for World Education Day and ahead of World Obesity Day, the initiative combines education with public awareness while keeping its message consistent. Wherever the campaign appears, the focus remains the same: helping children engage with healthier eating through play.

Why Colorfood Works

Creative ideas often become memorable because they simplify something that already exists rather than adding something new.

That is where Colorfood finds its strength.

The campaign does not introduce another nutritional rule or ask families to learn a new system. Instead, it reframes balanced eating through a visual cue that children can understand almost instantly. Color becomes an invitation to explore different food groups rather than a lesson that needs explaining.

It is a small shift in perspective, but one that makes the message feel more approachable while remaining closely connected to the nutritional guidance behind it.

Final Thoughts

Colorfood shows how creativity can make an important subject easier to understand without reducing its significance. By turning balanced eating into something children can recognise at a glance, the initiative transforms nutrition from a list of recommendations into an engaging visual experience.

For Campaigns of the World, the work stands out for the clarity of its creative thinking. It takes a complex public health conversation and expresses it through a simple idea that remains consistent from insight to execution, demonstrating how creativity can help make everyday habits easier to embrace.

Credits
Campaign: Colorfood
Agency: TBWA\Paris
Brand: Auchan
AUCHAN Leads: Sandrine Burgat, Laurence Dang, Hélène Marot, Charlotte Desmarescaux, Jade Gailliez
TBWA Leads: Guillaume Pannaud, Olivier Rippe, Matthéo Pressmar, Maëva Jordan, Zoé Longuet, Lisa Delalande
Strategic Planning: Nicolas Orsoni
Executive Creative Director: Faustin Claverie
Associate Creative Directors: Lucie Vallotton, Vincent Cusenier
Art Director: Ronan Coursin
Copywriter: Alessandro Cerutti
Art Buying: Elise Kubler, Carine Galuffo
Illustration and Film: Alexandre Nart
Object Design: Clémence Germain
Production: Bruno Louis
Photographers: Blaise, Zoé
Lyrics and Music: Guillaume Aldebert
Arrangements: Christophe Darlot, Hubert Harel
Mixing and Mastering: Christophe Darlot
Publisher: Ah Bon Publishing
Sound Production: ELSE
Head of Music and Sound: Olivier Lefebvre
Music Supervisor: Ferdinand Huet
Sound Director: Ambroise Cabry
Business Affairs: Nefssetou Gassama
Head of Design: Kou Yang
Head of Production: Sandra Delfosse
Case Film Production: Pétronille Desforges
Camera Operator and Cast Direction: Coraline Bennetti
Electrical and Lighting: Colombe de Gonneville
Editing and Post-production: Carla Perret
Social Media Leads: Marceau De Bouteiller, Claire De Jaurias, Alex Jean-Baptiste

This campaign is about:
Colorfood, Auchan, TBWA Paris, Healthy Eating, Childhood Nutrition, Public Awareness, Retail Campaign, Food Education, France, Integrated Campaign, Marketing Campaign, Integrated Campaign, Video Campaign

In many Indian households, particularly those in economically disadvantaged areas, financial control rests with men, who manage bank accounts and related matters. Consequently, women lack financial parity and have come to accept their non-involvement in financial matters, which prevents them from being self-sufficient.

Ujjivan Small Finance Bank is committed to assisting individuals who are financially underprivileged or overlooked. They aimed to effect change in a culturally significant manner that would enable women to achieve financial equity.

In India, wedding celebrations are attended by thousands of guests who customarily present cash gifts known as “Shagun.” The Shagun is never a round figure and is typically accompanied by a 1 rupee coin, which signifies prosperity and continuity for the newlyweds.

Before giving their Shagun to the couple, guests place it in specially designed envelopes called “Shagun Ka Lifafa,” which already have a one rupee coin attached for convenience.

We aimed to repurpose this culturally significant object to promote financial equality for Indian women. Our epiphany was to use the traditional lifafa as a form for opening bank accounts. Furthermore, women could open an account with just one rupee coin, making the process easier and more accessible.

Credits
Agency Network: McCann Worldgroup
Campaign: Shagun Ka Lifafa
Holding Company: Interpublic Group
Production Company: Shoot at sight, Mumbai
Advertiser Brand: Ujjivan Small Finance Bank, Bangalore
Advertising Agency: McCann Worldgroup India, Mumbai
Video Director: / Writer Vineet Mahajan
DOP: Amol Jhadhav / Shoot at sight
Producer: Raj Chedda / Shoot at Sight

Tags: India, Asia, Integrated Campaign, Finance, Ujjivan Small Finance Bank, Financial Equality, Women Empowerment, Traditional Lifafa, Banking in India, Financial Inclusion, Women’s Financial Independence, Financially Underserved, Financially Unserved, Accessible Banking

Brastemp launches ‘Washing Away Excuses’ with spot directed by Landia’s Aline Lata

“Doing the laundry is everyone’s job; our society can no longer tolerate a gender-based division of tasks,” says Allyne Magnoli, Marketing Director at Whirlpool, which owns the Brastemp brand. “With that in mind, we include in the campaign (in)famous excuses given by family members who do not engage with tasks in the laundry room, preferring to ‘outsource’ the work.

Some of those excuses, which range from “I never learned how to do it” to “I was going to, but you beat me to it,” are the basis of “Washing Away Excuses,” a playful and intelligent campaign from FCB Brasil.”

Some excuses have been printed on t-shirts sent to about 200 opinion leaders, including journalists and influencers. When the shirts are laundered, the excuses disappear to reveal the message “Household chores are everyone’s chores.” A small number of shirts were also sold on an online pop-up store, enabling people to send them as a “gift” to a partner or significant other.

When it comes to the division of household tasks, gender inequality in Brazil is real. A 2018 study by IPEA found that while 93% of Brazilian women are responsible for laundry, only 56% of their partners do the household task regularly.

Credits
Brand: Whirlpool
Product: Brastemp
Agency: FCB Brasil

An advertising campaign launched in newspapers and out of home, scheduled for the last two weeks of June.

All the companies that chose to join the project Rainbow Brands created by Dentsu had the opportunity to be protagonists with their logos in different subjects and media formats.

The creative idea draws its strength from simplicity: a multi-brand rainbow, where each one is associated with a rainbow flag colour.

Thanks to the support of IGPDecaux, Urban Vision and VG Pubblicità, the campaign is out of home in Milan, with maxi-billboard formats in Piazzale Lodi and special positions inside the Cadorna Metro.

But most of all, it has been published in newspapers just below the news of the debate about Italy’s anti-homophobia law between government and Vatican’s with a perfect media placement.

Stefano Morelli, a chief creative officer of Dentsu, says about the initiative: “We are very proud of this campaign because it testifies to the deepest and most authentic sense that Pride tries to teach us: the praise of diversity. Large companies that share the market attention daily now share the same space is a powerful signal. When individualisms are put aside, and small differences are cancelled out, unthinkable goals can really be achieved. In a common victory. A rainbow in which diversity is the key ingredient of a shared message. Because sometimes all it takes is a simple idea and the desire to share a space to send out a great signal”.

Credits
Agency: Dentsu
Campaign: Rainbow Brands
Production: The Story Lab

Supermarkets are the #1 place to be exposed to COVID-19: its workers tested positive for coronavirus at a rate of 20% – well above the 1.3% detected in the community at the time.

Mastercard used transaction data to protect both employees and customers. At the beginning of lockdown, they launched www.kiedydosklepu.pl – a digital tool providing information about in-store traffic. Next, they partnered with Carrefour and used the tool within the Waze navigation app.

When you searched WAZE for any supermarket, they guided you to the emptiest Carrefour in your neighbourhood.
They also created promos you could only access when the store was empty.

Credits
Client: Mastercard
Campaign: Safe Waze 2 Shop
Advertising Agency: McCann Poland, Warsaw, Poland

There is a new form of Racism that is ‘ordinary’ in this form of Racism, people don’t act harsh, but their mindsets are framed so that they are indulging in Racism without even considering them racist. These thoughts are fed to them with the spread of hateful messages, images, and whatnot. It is fear that causes Racism. It is fear of death, job, enemy, or anything. The fear is unreal, but these social media messages make it look almost real and promote deep-seated Racism among people.

Faces of Fear successfully highlights the most important issue of the forthcoming decade: social media hate speech and Racism. It’s high time for everyone to think rationally and not frame opinions because of such hateful news and messages.

Credits
Client: LICRA
Campaign: Faces of Fear
Executive Officer: Mario Pierre Stasi
Administrative Officer: Stéphane Nivet
President of the Strategic Committee: Gérard Unger
Communication Manager: Arthur Loubatié

Agency: Publicis Conseil
President overseeing creativity: Marco Venturelli
VP Publicis Conseil: Alexandra Evan
Art Director: Clément Palouzier
Copywriter: Antoine Querolle
Strategic Planner: Didier Tavares
Executive Director: Gaëlle Morvan
Account Manager: Laurent Enet
Account Manager Assistant: Aurélie Guine
Process Manager: Claire Diot

Film Production: Prodigious
Director: Akim Laouar
DOP: Christophe Grelier
Producer: Thierry Delesalle
Production Directors: Romain Guilbert, Charles Ramaré & Luc Annest

Photographer: Philippe Gueguen
Art Buyer Director: Nathalie Maudet
Art Buyer: Nathalie Benchetrit
Retoucher: Sophie Cazade (La Souris)

Studio: Les studios de la Montjoie
Studio Producer: Xavier Pleche
LED Screens: MursDeLeds
Robot: Neo Motion control
1st Director Assistant: Alexandra Kan
2nd Director Assistant: Antoine Gay
1st Machine Operator assistant: Fabienne Delaleau
Electrician Chief: Benoit Dupont
Casting Director: Mourad Framera

Post Production – Sound: Prodigious
Studio Assistant: Arnaud Galabbe
Sound Engineer: Laurent Lavaud
Sound Design: James Vacherot
Sound Producer: Remy Dorne

Post Production – Image: Reepost
Edit: Jordan Amicelle
Calibration: Lydia Lopez
Flame: Adrien Lepineau, Eric Alcuvilla
Post Producer: Loundja Oussana
Composer: Max Zippel

PETA (People for the Ethical Treatment of Animals) need people’s attention to show what’s going on in the horse racing industry. A place where horses are raced to the grave. Their solution is an integrated campaign with a provoking message. A bet on horses is a bet on death.

Awards
One Show 2012 Integrated Campaign – Gold
One Show 2012 Client Pitch – Honorable Mention
One Show 2012 Website – Merit
One Show 2012 Online Ad (Campaign) – Merit

Credits
Client: PETA
Campaign: Death Bet
School: Berghs School of Communication
Writer: Viktor Jacobsson, Rickard Beskow
Art Director: Michal Sitkiewicz, Eva Wallmark, Andreas Ekelund

Credits
Client: VUB bank
Campaign: VUB money saving button
Advertising Agency: Triad, Slovakia
Chief Creative / Strategy Officer: Martin Woska
Creative Director: Vlado Kurek
Art Director: Csilla Polák, Adam Majko
Copywriter: Matus Hliboky
Developer: Roman Janajev
Account Manager: Michaela Markusková
Account Director: Natália Mikušová

Credits
Client: Cancer Society of Finland
Advertising Agency: TBWA\Helsinki, Finland
Chief Creative Officer: Jyrki Poutanen
Creative Director: Erno Reinikainen
Account Manager: Anette Michelsson
Comms & PR Specialist: Saana Simander
Copywriter: Tuomas Perälä
Designer: Timo Klemola
Design trainee: Arttu Pöyry
Photographer: Tuukka Koski, Koski Syväri
Post Production: Kasimir Häiväoja / FLC Helsinki

Credits
Client: Burger King
Campaign: Whopper to the Future
Advertising Agency: Buzzman, France
President and Executive Creative Director: Georges Mohammed-Chérif
Vice – President: Thomas Granger
Managing Director: Julien Levilain
Creative Directors: Tristan Daltroff, Louis Audard
Art Director: Louis Audard
Copywriter: Tristan Daltroff
Art Director Assistant: Vincent Tavernier
Head of Account: Loïc Coelho
Account Executive: Benjamin Nollet
Head of Social Media: Julien Scaglione
Social Media Consultant: Félix Brunot
Social Media Consultant: Arnaud Cherbonnier
Head of PR & Communication: Amélie Juillet
PR & Communication Manager: Paul Renaudineau
Head of TV Production: Vanessa Barbel
TV Producer: Assya Mediouni
Production: Mecanique Générale
Sound Production: Schmooze

In the midst of the chilly December, Success Menswear embarked on a heartwarming mission to extend the embrace of kindness to underprivileged children. Teaming up with Shishur Sevay, they orchestrated an enchanting workshop cantered around the art of flame painting. Within the nurturing arms of the organization, these children found solace and creative expression.

The outcome was nothing short of magical, igniting countless hearts with joy. Guided by the flickering flames of candles and armed with paper as their canvas, these young souls crafted artworks that mirrored their unique spirits, each stroke emanating the warmth of their infectious smiles.

The culmination of this creative journey saw these exceptional artworks adorning the walls of Success stores, transforming them into galleries of profound emotions. With each purchase, a piece of this heartfelt artistry found its way into the hands of customers, creating a symbiotic connection between commerce and compassion. The curiosity was palpable as customers flocked, drawn not only by the allure of exquisite art but also by the desire to be a part of this benevolent cause.

As the month unfolded, so did the wings of success. The sales graph soared to unprecedented heights, a testament to the resonance of compassion in the hearts of people. Beyond the monetary gains, a deeper satisfaction emerged – the knowledge that the proceeds were not just filling pockets but were nurturing the dreams and aspirations of budding young artists.

In a heartwarming gesture of goodwill, the profits were not merely numbers on a ledger. Instead, they were transformed into opportunities for these young creators, a gesture that spoke volumes about the values upheld by Success Menswear. The cold of December was no match for the warmth generated by the collaboration of Success Menswear, Shishur Sevay, and the radiant souls of the children, reminding the world that a small spark of kindness can ignite a blazing fire of positive change.

Credits
Client: Success Menswear
Campaign: Spread the Warmth
Advertising Agency: SoS Ideas, Kolkata, India
Executive Creative Directors: Souvik Misra, Soubhik Payra
Senior Creative Director: Uttaran Chaudhuri
Creative Director: Siddhartha Sankar Ray
Director: Indrashish Mukherjee
Production House: Eye Wash Entertainment

This campaign is about:
Integrated campaign, India, Fashion, Public Interest, Success Menswear, SoS Ideas, Outdoor Campaign

Credits
Campaign: Her Street
Advertising School: Miami Ad School, Mumbai + Miami Ad School, Mexico City
Agency website: https://miamiadschool.com/
Art Director: Catarina Barcala
Copywriter: Palak Kapadia

This campaign is about:
Integrated campaign, Technology, Best Digital campaign, Innovation, Awareness, Breonna taylor, India Beaty, Kisha Michael, Jessica Williams

Credits
Campaign: The Most Searched
Agency: Google Brand Studio / San Francisco
Client: Google

Tags:
Integrated Campaign, Digital Campaign, Technology, Search

In Italy, the time of total confinement has ended, and we are now entering ‘Phase 2’ where we are finally free to go around. The rules are more transparent than they were a few weeks ago: wear a face mask, gloves and, above all, “let’s all keep a distance of one meter.”

With all this happening, Wunderman Thompson Italia and Burger King® Italia have decided to opt-out of traditional types of communication, and to launch a new, truly unique burger.

We are introducing the Social Distancing Whopper, the famous Whopper® now with far more onions to promote social distancing in true BK style. Available in all Italian Burger King restaurants via drive-through King Drives®, take-away services and eat-in.

Credits
Advertising Agency: Wunderman Thompson Italy
Chief Executive Officer: Giuseppe Stigliano
Chief Creative Officer: Lorenzo Crespi
Creative Directors: Pas Frezza, Luca Iannucci
Motion designer: Morgan Storti
TV Producer: Marta Armando
Director: Alessandro De Leo
Speaker: Ruggero Andreozzi
Music: The FoolishMouse / MaxH
Mix audio: Hogarth worldwide Italy
Head of business: Matteo Bellisario
Account: Luca Santagati

Tags:
Print Advertising, Digital Campaign, Advertising Campaign, Best Digital Campaign, Integrated Campaign, Italy, Food, Public Interest, NGO, Burger King, Wunderman Thompson, Social Distancing Campaign