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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : July August 2007
CAN NES and the eyes. It was last minute, but it wo rked magically. We reco rded sound i n the photograph y s tudio, even though there was no dialogue, so it would feel raw and honest.” Released virally through the D ove newsletter email channel and post - ed on YouTube, the public’s inter- est was immediate with the clip fly- ing around the world. The ensuing publicity was huge with coverage on high profile US shows inclu ding The Today S how, CB S Early Show, G ood Morni ng America , Ent ert ainme nt Tonigh t, CNN Entertainment News and The Ellen Degeneres Show. It aired in Euro pe a nd the US after Unil ever gav e i ts market ing teams in each country the option to pick it up. (The US marketing team wanted to delay the release until the Superbowl, but i t didn’t fit i n with the Can adi an marke ting te am’s timing.) In Hol land, a huge fuss was made about the release with it airing simul taneo usly on s everal networks with full page news paper ads announcing it s premiere. Dove is s et to capitali se on its su ccess, with Piper directing two more short films which will be released in vari - ous markets in September. While he’s obviously got a strong sense of the need to marry advertis- ing with social justice – his favourite work re cognised at Cannes 07 was the Tap Water Project by D roga5 New York - Pi per laughs when CB asks if he’s a feminist. “No! We ll, maybe I am. W omen have puzzled me for so long an d I have no sisters but w orking on this projec t has hel ped give me an ins ight i nto women. The mo re I have to learn about it for my job the more interesting it gets an d then you jus t s ee there’s a huge wro ng that needs to be corrected i n soci- ety,” he says. “ It fee ls lik e peop le don’t k now about the m assive man ipulation that goes on, wa y be yond air brushing… as I dig deeper i nto th is sub ject, i t gets darker and darker, so I th ink I am now a lit tle bit enlightened on the betrayal of women i n advert ising and the media and the eff ects i t i s having on women.” At t his stage it feels chur lish to point out that he is working for one of t he world ’s bigge st cons ume r goods company, but we do it any - way. “That’s true, but wh o better to ca ll it than someone on t he inside? That’s what is g reat abo ut Dove, th ey are part of th e b eauty machine but t hey are putting u p thei r hand and saying w e are not doing this right as an in dustry and here’s a better way. Dove do esn’t want to t ell people it’s s hameful to try to make yourself look beauti ful, but what they are trying to say is try to ma ke yourself lo ok as bea utiful as you can, but love yourself while you are doing i t, as opposed to t he other marketing techniques whi ch are yo u are not good enough, you need this to be better,” he says. While Pi per won ’t admi t to an y spe cific job o ffers, he ad mit s t o interest from agencies and prod uc- tion c ompani es around th e wo rld 28 CAM PA I GN B RIE F following the result at Cannes. “My philosophy has always be en not so much to work f or th e best agency but to work f or a n a gency that could be the best and then try and make the agency you work for the best as o pposed t o tr ying to work for the best ag ency a round,” he says. “I do have affection for the Clemenger and BBDO network in Australia, I would like to come back and work in Australia at Clemenger BBDO one day for sure. But there’s still a lot more I want to achieve in the North Ameri can he misphe re first. Still, I miss Au stralia, it ’s by far the be st pla ce to live i n the world so if the article leads to some- one saying come home and be the CD, I think I’d take it up”. However Piper feels he’s not yet at the stage where he could get a job anywher e. “I feel like I n eed to repeat it or at least back it up. I was pretty quiet in Australia and jus t starting to gain momentum when I left and now it’s hard to believe that I can go back to Australia and keep it going,” he says. In the mea nt ime, he’s go t the whole of North America to conquer and a ‘pipedream’ project he’s cur- rently working on could be his next big thing. Stay tuned. R/GA, who had just wo n a Grand Prix for Nike+, which also went on to win a rare Titanium Lion. I t’s not often that an Australian in such a high profile position slips through the radar of the local industry, but Law only worked briefly in Sydney in the late 8 0s at a de sign studio before heading overseas. The Nike+ work was a perennial I favourite to win at Cannes consid- ering its performance at pr evious shows . I ts h aul included a Bl ack pencil at D&AD, the GRANDY at the Internat ional ANDY Awar ds making it the first digital campaign to take the Best of Show, the Grand Clio in Int era ctiv e and Best of Show at One Show Interactive. For the ath leticall y ch al lenged among u s, Nik e+ ar e sneak er s inserted with a chip that can com- municate wirelessly wit h an Appl e iPo d Nano, al lowing r unners t o track their progress, ke ep a re cord of thei r running adven tures an d interact/compete with a global com- munity of runne rs. The website, TV and online advertising and the mobile, blog, and web video chan - nels are all considered pa rt of the product themselves as they provide the c ont ent, serv ices and gl obal community to enhance the running experience. According t o R/GA, th e Nike+ community has run over 13 million miles together and Nike has attrib- uted much of i ts 8.1% quarter two growth to the success of the Nike+ N THE MIDST OF THE CYBER jury fe nding off quest ions abou t Au stral ia an d New Zealand’s relatively poor pe r- formance, o ne of th e judge s put his hand up to confess to being Australian. It w as Nick Law, chief creative of ficer at platform, which was overs een by Law. The North Shore bo y studied at Randwick Technical Col lege an d started his career in design. His sole job i n Australia was as own er of Studi o Dot, a smal l des ign fi rm specialising in brand id entity for clients in cluding Ernst & Young , Eveready and CSIRO. Then he mad e the move to London, whe re he wor ked at Pentagram before switching over to the agency side as a senior designer for DMB&B. Relocat ing t o New York, he went back int o a d esign shop, working as a senior desi gner at De ifenbac h Elk ins (sin ce renamed FutureBrand), pr imarily on Eastman Kodak. T hen i t wa s over to the agency side as c reative director of FGI New York where he was responsible for directing adver- tising, design and intera ctive pro- jects for clients including Disney on Ice, KPMG and Red Hat. In 2001 he joined R/GA and within a y ear was pr omot ed to VP of visu al de sign , then ECD on th e Ni ke account, stepping into his current role in November 2006 at 40. The role was forme rly h eld b y R/GA’s legen dary chairm an and CEO, Bob Greenberg who remains global creative director. L aw al so works c losely with f ormer world- wide creat ive d irect or Chr is Colborn, who took on a ne wly cre- ated role as chief experience officer (CXO) in June. Employing 520 people, R/GA is headquartered in New York with a smaller London office an d a s ales office in Los Angeles. Founded i n 1979 by brothers Richard and Bob Greenberg the company ha s go ne through several incarnations from a 2-D g raphic animations c ompany The more important stuff in the digital space right now is less about advertising, sometimes not even about marketing, according to Law. “It’s more about some sort of engagement, extending an experience from the virtual world into the physical or creating some sort of function that is a product extension and the market in Australia is just not ready for it, but I’m sure it will be soon.” Piper feels he’s not yet at the stage where he could get a job anywhere. “I feel like I need to repeat it or at least back it up. I was pretty quiet in Australia and just starting to gain momentum when I left and now it’s hard to believe that I can go back to Australia and keep it going.” JU L Y /AU GUST 2007
September October 2007
May June 2007