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

Ecover‘s The Unwashables takes one very different approach. It has created four T-shirts that are, quite literally, not supposed to be washed.

The reason? They’re lucky.

The campaign, created with Uncommon Creative Studio, is built around something many people can relate to: clothes that carry a little more meaning than an ordinary piece of clothing. Maybe it’s something worn when a favourite team won, a shirt connected to an important moment, or simply a garment that someone believes brings good fortune.

Ecover’s research found that 30% of Brits avoid washing lucky clothes because they fear washing away their luck. More than half, 54%, believe what they wear can directly influence their luck.

So instead of talking about laundry care in the usual way, Ecover decided to make the idea tangible.

Four T-shirts made with lucky charms

The Unwashables is a limited-edition collection of four T-shirts, each made using a different symbol of luck.

One uses 52 four-leaf clovers, crushed into dye and pressed into the cotton.

Another is dyed with rusted horseshoes that were wrapped, bound and weighted for 18 hours.

The third was dunked in wishing well water.

And then there’s the most unusual one: a T-shirt made with stardust, using a 6,000-year-old meteorite ground into dust and brushed into the fabric.

The result is a collection that takes the idea of a lucky garment to its logical extreme. These aren’t simply shirts that people might be reluctant to wash. They’re shirts that come with a very good reason not to.

The care label gets the punchline

One of the smartest details sits somewhere most people rarely pay attention to: the care label.

Each label explains what the T-shirt was made with and places the information alongside a series of simple icons. There’s the lucky symbol, a crossed-out wash tub, recycling arrows and a heart.

It turns an ordinary piece of garment information into part of the campaign itself.

The visual treatment keeps the same handmade feel. The four T-shirts are photographed hanging from driftwood tied together with rope, with a bottle of Ecover resting on the branch.

The product appears, but it doesn’t dominate the image. The clothes and their strange origins do most of the talking.

A laundry campaign that tells people to care

The apparent contradiction is the whole point.

A laundry brand has created clothes that shouldn’t go anywhere near the washing machine.

But The Unwashables connects that joke to a straightforward message within Ecover’s laundry-care platform: make the clothes you love last longer.

The campaign runs around Sustainable Fashion Week and includes a hero film alongside individual films for the four T-shirts. Ecover has also created a dedicated microsite explaining the designs, while a limited number of the shirts are being given away through its social channels.

The campaign takes a small human habit and turns it into something people can see, wear and talk about.

Instead of making laundry care feel like another instruction, Ecover has wrapped the message in superstition, unusual materials and four T-shirts that have no business being anywhere near a washing machine.

Credits
Brand: Ecover
Agency: Uncommon Creative Studio
PR & Influencer Agency: McCann UK

The sharpness of the Painvisible campaign comes from a simple truth. Not everyone can explain pain. A baby cannot describe it. An elderly patient with cognitive decline may not be able to place it clearly. A stroke patient may struggle to communicate. A person with autism, Down syndrome, a language barrier, or a cultural hesitation around pain may not express it in a way a doctor can easily interpret.

So the campaign asks a very practical question: if pain cannot always be spoken, how else can it be understood?

How the Painvisible campaign uses AI and thermal imaging

Painvisible uses a portable thermal camera connected to a smartphone. The camera detects heat patterns on the body’s surface that may indicate pain. An AI-powered app then analyses this data, comparing it with thousands of patient studies and environmental factors to help doctors assess pain more objectively.

This is where the idea becomes more than a digital campaign. It is not built only for awareness. It is designed as a working medical tool for healthcare professionals. The technology gives pain a visual language, especially in cases where the patient cannot explain what hurts, where it hurts, or how intense it feels.

That makes the Painvisible campaign feel clear and useful. It does not try to make AI sound magical. It gives AI a specific job: help doctors see signals that may otherwise be missed.

A human idea inside a healthcare innovation

Healthcare advertising often uses emotion heavily, sometimes too heavily. Painvisible works because the emotion is already inside the problem. There is nothing exaggerated about a patient not being able to say what they feel. There is nothing abstract about a doctor needing better information before making a treatment decision.

The One Club’s ADC Awards archive describes PainVisible as an AI-led app and medical tool for healthcare professionals, including doctors in pain units, pediatricians, geriatricians, and specialists working with patients who face communication barriers.

That focus gives the campaign its editorial strength. It does not position technology above medical expertise. It supports doctors with another layer of evidence. For patients who are often misunderstood, ignored, or under-assessed, that evidence can matter.

The Painvisible campaign is also interesting because it treats accessibility as a medical issue, not just a communication issue. If the current system depends on how well a patient can describe pain, then patients with weaker communication ability are already at a disadvantage. Painvisible tries to reduce that gap.

Why Painvisible stands out in digital health advertising

The strongest digital health campaigns usually have a clear use case. Painvisible has one. It helps healthcare professionals measure pain when subjective reporting is not enough.

Aritium developed Painvisible in partnership with VML Health and WideLabs. WPP states that the tool uses thermal imaging for objective, data-driven, real-time pain measurement and is currently being used in hospitals across Spain and internationally, with plans to introduce it to hospitals in Europe, Latin America, and the United States during 2025 and 2026.

For a digital campaign, that real-world use is important. Painvisible is not only a message about healthcare equity. It is an attempt to build equity into the act of diagnosis itself. The campaign gives a visible form to something people often have to prove through language.

It also gives the brand and agency a clear creative territory. Aritium stands for medical innovation with a direct patient benefit. VML Madrid & New York show how creative technology can move beyond a clever interface and into practical healthcare value.

Pain should not depend only on speech

The most memorable part of the Painvisible campaign is the idea that pain should not have to be spoken to be treated. That thought is easy to understand, and it gives the work its emotional weight without forcing it.

In a category filled with broad claims about AI, Painvisible feels more grounded. It does not say technology can solve pain. It says technology can help doctors measure pain better, especially when a patient cannot explain it clearly.

That is why the campaign lands. It turns an invisible, subjective, often misunderstood experience into something doctors can examine. It gives patients another way to be heard. For a digital campaign in healthcare, that is a strong place to stand.

Credits
Agency: VML Madrid & New York
Brand: Aritium, Asturias
Production Company: WideLabs, São Paulo & La Boutique 77, Madrid
Music / Sound Production Company: Agosto Music & Sound Craft
Art Director: Cristina Calabuig, Laetitia Mourabak & Nicolás Sierra
Chief Creative Officer: Renata Maia & Rodrigo Vicente
Copywriter: Ana Sofía Chávez, Javier Frías & Rosa Pérez
Creative Director: Eduardo Domínguez & Everton Behenck
Director: Jonathan Diaz
Director of Photography: Álvaro Troconiz
Executive Creative Director: Rodrigo Panucci
Producer: Paula Mira
Full Stack Developer: Fabricio Vizzoto
Music Producer: Jose Campos
Post Production Coordinator: César Monzón
Post Production Director: Juan Eduardo Peso
Production director: María Izquierdo
Production Manager: Raquel Güendián
Project and Operations Director: Fabio Dias
Talent Agent: Ruben Raffo Corrales
VO Talent: Carla Maxted
Web Creative Designer: Luisa Pinheiro
Web Developer: Robinson Gómez

This campaign is about:
Painvisible campaign, Aritium, VML Madrid, VML New York, VML Health, Tech Innovation, WideLabs, healthcare AI, pain measurement, thermal imaging, digital health campaign, AI in healthcare, medical innovation, health tech advertising, inclusive healthcare, patient care, creative technology, digital campaign.

Introduction:
In bustling coastal cities like Mumbai, the menace of open manholes claims a life every 12 hours, posing a grave threat to bikers and two-wheeler riders navigating waterlogged streets during heavy rainfall and high tides. The aged drainage system, dating back 150 years, exacerbates the risk of floods, especially with the challenges posed by intense summer rains and rapid urbanization. This article explores the collaborative effort between TVS, India’s third-largest two-wheeler manufacturer, and the Mumbai Municipal Corporation to address this critical issue and enhance street safety.

Challenge:
Open manholes in Mumbai have long been a perilous issue, with heavy rainfall and high tides turning waterlogged streets into death traps. The 150-year-old drainage system, coupled with rampant urbanization, contributes to severe waterlogging. Of the city’s 360,000 manholes, many are either intentionally left open by locals or have their covers stolen, compounding the problem. Corrosion further hampers efforts to secure these manholes individually.

Solution:
In a groundbreaking move, TVS and the Mumbai Municipal Corporation joined forces to create an innovative, cost-effective, and easily scalable solution – ‘The Responsible Manhole’. The result was a 3D-printed device that utilizes the principle of buoyancy. When a manhole cover is dislodged during flooding, the device is pushed up by up to 5 feet, triggering LED lights and a loud buzzer. This dual-alert system, comprising both audio and visual warnings, immediately notifies pedestrians and riders of the potential danger.

To ensure a swift response, a dedicated mobile app, synchronized with the device, relays real-time information about the geo-locations of open manholes to the municipality. This proactive approach enables authorities to take prompt action and prevent accidents.

Result:
The initial implementation of ‘The Responsible Manhole’ initiative witnessed a substantial reduction in casualties, showcasing the effectiveness of the device across Mumbai. Encouraged by this success, Bengaluru’s municipality has initiated Phase 2, planning to deploy these devices in over 200 locations. The project’s impact extends beyond city limits, as a live session at IIT Jodhpur engaged top engineering students, fostering knowledge transfer.

Recognizing its potential, discussions are underway with other municipalities such as Chennai, Kolkata, Bhubaneswar, and Guwahati. In a landmark decision in December 2022, the Mumbai High Court mandated improved surveillance of manhole covers. Furthermore, the open-source blueprint of the device is now available to civic bodies globally, offering a valuable tool for municipalities worldwide to enhance street safety.

Conclusion:
The collaborative effort between TVS and the Mumbai Municipal Corporation stands as a beacon of innovation, demonstrating how technology can be harnessed to mitigate longstanding urban challenges. By addressing the threat posed by open manholes, this initiative not only saves lives but also sets a precedent for cities worldwide to adopt proactive measures for ensuring road safety. The open-source nature of the device amplifies its impact, emphasizing a collective commitment to creating safer urban environments.

Credits
Campaign: The Responsible Manhole
Brand: TVS Motor Company
Agency: Dentsu Creative
Production Company: CHR Films, Airvision

This campaigns is about:
Street Safety, TVS, Mumbai Municipal Corporation, Open Manholes, Urban Challenges, 3D-Printed Solution, Waterlogging, Drainage System, Road Safety, Innovative Technology, Bengaluru Municipality, Infrastructure, LED Lights, Real-Time Monitoring, Geo-Locations, Proactive Measures, Urban Innovation, Civic Responsibility, Global Impact, Open-Source Blueprint, Safer Cities, Traffic Safety

Toothpaste tubes are discarded in large quantities annually, contributing to the pollution of oceans and landfills as they take years to biodegrade. In an effort to address the unsustainable practices within the oral care industry in the Philippines, a local start-up brand named Kintab emerged. Their innovative solution involved the creation of toothpaste tablets that functioned similarly to traditional toothpaste. However, these tablets were packaged in peculiar jars, deviating from the familiar appearance of toothpaste tubes that most consumers were accustomed to.

In order to encourage spontaneous product trials without fundamentally altering the form, a sleeve was developed to give the impression of a larger tube for the small bottle. The market was subjected to testing of these sleeves, resulting in a significant increase in the number of individuals opting for the product. Moreover, the sleeves themselves can be recycled in-store, allowing customers to take home the compact packages, which contain all the necessary components for brushing their teeth.

Credits
Campaign: The Tubeless Toothpaste
Client: Kintab
Office: BBDO Guerrero

18 Herbs Idol by Medimix Ayurveda – A Ganesh Idol on Medimix Ayurvedic soap, made of 18 herbs to drive home a message of responsibility and safeguard the environment this Ganesh Chaturthi.

The campaign video comprises the voice of renowned voice-over artist Ninad Kamat. The video intends to educate people and teach responsibility towards the environment while following the traditions.

In limited series production, Medimix provided more than 500 idols for the festival. The brand asked the audience to DM their address for sending the idol on a first-come, first-serve basis. After receiving their idol, people performed all the puja rituals and immersed the soap idol in a bowl. Many users posted photos and videos on social media platforms exhibiting how they switched to an eco-friendly Ganesha with the help of Medimix soap.

#MedimixAyurveda #18HerbsIdol #GaneshChathurti2021

The brand endeavors to encourage people to get closer to nature and celebrate the festival responsibly. The soap idol was used as an alternative to normal idols usually made from Plaster of Paris and are not eco-friendly at all, degrading the quality of water bodies and affecting aquatic life. After the merriment was over, the Medimix soap idol was immersed in water which was then used to wash the hands of the underprivileged, giving them 99.99% germ protection, just like the quality of ‘Vighnaharta.’ The campaign has been executed and conceptualized by Grapes Digital.

Speaking on the campaign, Ashish Ohlyan, Head of Marketing, Cholayil Pvt Ltd, said, “With the campaign, we want to make people aware that there are more sustainable ways of celebrating the festival. There is a need to foster a love for the environment. Every year with the onset of Ganesh Chaturthi, our hearts get filled with immense joy and excitement, that vitality and spirit are needed the most when we mark the end of the festival. We want to encourage people to switch to nature-friendly options for a better future while relishing the festivities. Being one of the largest ayurvedic brands, we’re doing our bit for nature “.

Rajeesh Rajagopalan, National Business Head- Grapes Digital, said, “In many states, the govt has imposed restrictions instead of the pandemic which is need of the hour. However, we don’t want the festive spirit amongst people to be drowned out by the pandemic. We wanted to create something that consumers can easily switch to and celebrate the festival with utmost happiness. Hence, we created this campaign for the brand. The best part of the campaign is that the immersed idol will be further reused for washing hands”.

The Medimix soap is enriched with the unique combination of 18 ayurvedic herbs, which helps in germ protection and ensures that they are gentle and soft on the skin, leaving the hand smelling fresh, soft, and clean.

Credits
Brand: Medimix Ayurveda
Campaign: 18 Herbs Idol
Agency: Grapes Digital

Challenge:
Paris is the most congested city in Europe. Every day, it’s paralyzed by more than 200 km of traffic – and during the strikes in 2019, when there were no Metro or RER trains, this figure reached 700 km. Doctors must navigate this traffic to get to intervention sites, and it’s estimated that every minute lost is 10% less chance of survival – making reaction time crucial.

Inspiration:
How can doctors respond to a medical emergency if they cannot travel or will arrive too late? Why not develop an innovative mode of transport that will save them valuable time to get to intervention sites?

Idea:
Wunderman Thompson Paris partnered with Ecox, the electric bike specialists, to design a bicycle (Emergency Bikes) to help doctors navigate the city faster than any other vehicle and reduce response times to medical emergencies. More than an electric bike, it’s the city’s first medical vehicle designed to meet the needs of doctors. Custom built in the workshops of Ecox; Emergency Bikes feature technologies specified by doctors in the field.

Growth:
Able to carry a complete medical equipment kit, navigate traffic jams and park easily, Emergency Bikes allow doctors to reach intervention sites twice as quickly. They’re also environmental friendly vehicles.

Emergency Bikes are a mobile medical practice that’s constantly improving. Since its launch with doctors from the Paris Medical Emergencies organization, Ecox has received requests from many other medical services to create Emergency Bikes tailored to their needs.

Awards Won:
Clio Awards 2021, Epica Awards 2020, Best Ads On TV

Credits
Client: Ecox
Agency: Wunderman Thompson, Paris

“The Gas Saving Burner” is only shortlisted Product Design – B03 Solution category at 64th Cannes Lions International Festival of Creativity, 2017 and awarded two Grand Prix at 8th Commward 2018 from GREY Dhaka, Bangladesh.

Credits
Advertising Agency: Grey, Dhaka, Bangladesh
Chief Creative Officer: Syed Gousul Alam
Head of Planning / Servicing: Salahuddin Shahed
Creative Director: Jaiyyanul Huq
Art Director: Muhammad Mustafizur Rahman Khan
Copywriter: Waleed K. Rajamiya
3D Imaging: Yousuf Al Mamun Razib
Senior Visualizer: Aminullah Bin Mahmood
Client Service Director: Masud Parvez
Account Manager: Chowdhury Rahman Rayhan
Account Executive: Nakib Ahmed
Associate Planning Director: Bitop Das Gupta
Sr. Planning Manager: Ummiya Rahman
Planning Executive: Saurav Das

Through extensive research, Isobar found that artificial honeycombs are made from the same material as plastic straws. It was also found out that the size of each honeycomb cell is the same as the commonly used straws, and so the researchers figured out a way to combine waste sterilized straws into an artificial beehive. The impressive results show that 300 straws can support the life of 4000 new bees. The artificial beehives have been sent to apiaries all over the world. Isobar also created a campaign to motivate people to make their next straw, ‘ The last straw.’

Waste management and recycling have been a great aid in reversing climate change. People are trying to create more new and advanced ways to recycle waste in something useful. This campaign is an excellent example of how innovation and research can come together to create wonder.

Credits
Agency: Isobar Mexico / Mexico City
Brand: Son De Miel
Campaign: Last Straw

Challenge
It’s a familiar challenge for many parents: how do you get your child to eat enough vegetables? In practice, children do not eat more than 73 grammes of veggies per day, on average, while the health guidelines for that age group (ages 4-8) recommend between 100 and 150 grammes of vegetables per day. All the more reason for HAK – a company who has always been on a mission to help get Dutch people to eat more vegetables – find a creative solution to this problem.

Tasting with our eyes
Dr Betina Piqueras Fiszman, a researcher at Wageningen University & Research (WUR), contributed to gathering a variety of scientific insights: ‘We “taste” with our eyes even before we’ve taken our first bite. How we present our food has an enormous influence on how we perceive the meal and how much we end up consuming it.’

Intelligent design
The Helping Plate does not look like a typical children’s plate, which is exactly as intended. Children mirror their parents, and it is easier to copy their behaviour if the child eats from a similar plate. The rest of the design also uses characteristics that – subconsciously – guide the child to eat more vegetables. For example, the larger size and an indentation give the same amount of veggies a smaller ‘footprint’. And the colour shading helps the vegetables to look more appealing.

Trying it out
Nicole Freid, Director of Marketing and Innovation at HAK, hopes that parents and their children will try using The Helping Plate: ‘We cannot guarantee that it will work for everyone, but almost all of the families that tested the plate with their children were positive about it. Most parents indicated that it was easier than usual to let the children eat more vegetables. The children also responded positively because The Helping Plate looks like a real grown-up’s plate. Also, parents became more aware of how much vegetables they have to serve to meet 100-150 grammes/day. We are very curious about the user experiences we will collect over the coming months.’

Innovative solution
Luuk Simonse and Leendert-Jan de Ronde, creatives at DDB Unlimited: ‘It’s a big challenge to change children’s behaviour. As we searched for an innovative solution, we discovered that there was still a lot of room for improvement in the way we present vegetables at the table. That’s why we incorporated scientific insights about influencing into the plate’s design. In this way, we created a tangible product that’s available to everyone.’

Maarten Vrouwes, Executive Creative Director at DDB Unlimited: ‘This project shows that creativity can surprisingly solve problems. By working with one of the Netherlands’ leading universities, we made some interesting discoveries. Children are instinctively programmed to copy their parent’s behaviour, which helped us look at the problem differently. We normally apply science and data to our advertising, but to apply it to design was a new and exciting step for us.’

The Helping Plate was designed by Waarmakers Studio and is produced in the Netherlands by Royal Goedewaagen. It is for sale at de Bijenkorf, the Netherlands’ most prestigious department store and can be found in its webshop and in-store when the shops reopen.

Maarten Heijltjes, the designer at Waarmakers Studio, worked on translating the scientific insights into the design: “Perception is a difficult thing to predict. Especially when the subject comes in various sizes and shapes, as vegetables tend to vary greatly. From the first design sketches, we needed to move toward high-definition prototyping quickly to grasp our designs’ actual effect on the Perception of volume. The combination of a more traditional mould for the main shape of the designed plate, combined with 3D printed inlays for the dents proved to be an exact and fast method to test different shapes and iterations.”

Credits
Client: HAK
Concept and creative execution: DDB Unlimited
Research: Wageningen University & Research
Product design: Waarmakers Studio
Plate production: Royal Goedewaagen

Google – Draw to Art | Doodle to discover great works of art

By: Google Arts & Culture Lab

Every great work of art started as a sketch, but what if your sketches could help you discover great works of art?

That’s the idea behind Draw to Art, a Google Arts & Culture installation in the form of an easel. It uses machine learning to match your doodles to paintings, sculptures, and drawings from museums around the world.

To create Draw to Art, we used the Sketchy database to train a neural network, teaching it to match doodles to artwork.

Sans Forgetica

Sans Forgetica is a font designed using the principles of cognitive psychology to help you to better remember your study notes. It was created by a multidisciplinary team of designers and behavioural scientists from RMIT University.

The Open Door Project

The Open Door Project is an institutional response by The Millennium School to the problem of children outside the education net. They believe that a large-scale campaign that enjoys the collective effort of private schools can help mitigate the crisis of over 8 million out-of-school kids in India. They are glad to see that Bhukkad — the film — resonates with the philosophy of The Millennium School, which has a love for learning and joyful learning as its bedrock.
Agency: FCB

A Future Without Change

Every year high school students are bombarded by university recruitment campaigns. So, while other universities showed students a perfect future, Monash University stood out by showing one plagued by problems.

VMLY&R created A Future Without Change, giving students a glimpse into what our world could become if we merely adapt to the issues we face instead of changing them.

With the help of each faculty, the team created 17 products that shouldn’t exist. These were brought to life through a multi-sensory campaign that the public could touch, hold, smell, taste and interact.

Client: Monash University
Agency: VMLY&R Melbourne

Reword

Bullying has moved from schoolyards to social media. Shielded by screens, kids often don’t consider the effect their words can really have. Headspace set out to find a way to tackle online bullying before it happens.

They created reword, an effective tool that works like a spell checker for online bullying. As a child types, this browser plug-in searches an evolving database of abusive words and phrases. When one is recognised, the child is instantly alerted with a red strikethrough, a simple symbol that encourages kids to reconsider what they write. reword has been embraced in Australia amongst children, parents and schools, and is having a genuine impact on online bullying behaviour. To date, when reword has been activated, 91% of insults have been corrected.

StorySign by Huawei

90% of deaf children are born to hearing parents, leading to communication issues, including the challenge of learning to read, which is so key to their future.

FCB Inferno created StorySign for Huawei, a free app that uses AI’s power to translate selected children’s books into sign language, delivered by Star, our friendly signing avatar.

Developed with an understanding of sign syntax to ensure a seamless translation and user experience, StorySign helps to open the world of books to deaf children and their families; users simply hold their phone up to the words on the page and avatar Star signs the story as the printed words are highlighted. This helps parents and children to learn to read together and at their own pace.

Sascha Hanke, the executive creative director at Kolle Rebbe explained the making-off-procedure: “It was a challenge. All processes connected with the donation had to be synchronized. When the card is swiped a secure process quickly authenticates it and in a split second activates a film sequence on screen”.

About MISEREOR
Germany’s biggest catholic aid organisation MISEREOR works for the world’s poorest people, regardless of denomination. We develop prize-winning campaigns and new products based on the principle of ‘Playful, not pitiful’.

Credits:
Brand: MISEREOR
Campaign: MISEREOR Social Swipe
Agency: Kolle-Rebe and Stripe.com

This campaign is about:
Product Innovation, Product Design, Best donation campaign, Interactive Campaign, Technology, social responsibility

A regular 10-digit mobile number to answer the frustrating question, “May I have your number please?” asked by complete strangers in places like shopping malls, networking events, dating apps, delivery apps, supermarkets, e-commerce platforms, etc.

Give your Doosra number to anyone, anywhere. Without worrying even a bit about unsolicited spam calls. Because, Doosra blocks all calls by default or sends them to voicemail depending on your Doosra settings. All messages go to a separate inbox. What’s more? It helps you decided who gets to reach you and who doesn’t. Time to reclaim what’s always been yours – your privacy.

How does it work?

• Your Doosra number does not require a separate SIM card or phone. It works on your existing phone. Just Download the app!
• All incoming calls to your Doosra number are blocked by default and go straight to voicemail. You can also answer calls when required.
• The Doosra app lets you whitelist contacts – allowing them to call or message you on your Doosra number without being blocked.
• The Doosra app allows you to callback any incoming call it has blocked without revealing your real number. Be incognito when needed!

Know more about Doosra

Download on Ios
Download on Android

This campaign is about:
Product Design, Innovation, Technology, Block Unwanted Calls, Block Spam Messages

Doconomy, a Swedish fin-tech startup for everyday climate action, has worked with Mastercard to develop this revolutionary tool for consumers wanting to act against climate change. Do Black also invites the user to offset their carbon footprint through projects meeting the criteria of United Nations certified green projects. Put, the first card ever to prevent consumers from exceeding their limit, not based on credit, but on levels of CO2 emissions caused by their consumption.

“We all need to come to terms with the urgency of the situation and rapidly move towards more responsible consumption,” said Doconomy CEO Nathalie Green. “With DO Black there are no more excuses.”

“Through our collaboration with the UN Climate Change Secretariat and MasterCard, DO will enable people to do their part to contribute to the carbon-reduction goals of 2030 and onwards,” added Green.

This campaign is about:
Global Climate Action, MasterCard, Doconomy, Air-Ink, Cannes 2019 winner, Product Design, Brand Utility, Sweden, Europe, Design, Digital, Technology, Financial Services, Public Awareness, Award-Winning, Creative Commerce, Innovation

Three things remain certain in life-death, taxes, and holiday-fueled wine spills. The topple of someone’s half-full glass of wine on your fancy tablecloth is an inevitable part of the chaos and chatter that consumes a holiday dinner—until now.

Leo Burnett Israel and Galil Mountain Winery created a stain-proof solution, just in time for the Jewish New Year. The result is an integrated campaign – equal parts clever and aesthetic.

The duo developed the “Winetone” tablecloth, designed to match Galil Mountain Winery’s wines’ exact colors. The tablecloths are part of a festive gift box that includes a bottle of wine—rosé, cabernet sauvignon, merlot or syrah—and its perfectly matched tablecloth. So when you or your guests spill, it’ll blend right in.

To successfully produce this unique product, the agency partnered with Hameshaken—a chain of small production factories that employ people with disabilities.

It’s a campaign rooted in a belief in helping others out—whether that’s elevating a meaningful company like Hameshaken or easing consumers’ wine-spilling worries during the holidays.

Credits:
Brand: Galil Mountain Winery
Campaign: Stain-Proof Tablecloth
Advertising Agency: Leo Burnett, Israel

This campaign is about:
Festive Campaign, Disabilities, Hameshaken, Wine, Product Design