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John Lewis unveils #MoztheMonster Christmas campaign with Google Home and Facebook AR tie-in

John Lewis's #MoztheMonster Christmas campaign
John Lewis’s #MoztheMonster Christmas campaign

The much-anticipated John Lewis Christmas film from Adam&Eve/DDB has been revealed, this time featuring a friendly monster called Moz alongside all manner of interactive campaign components.

#MoztheMonster, which was produced by award-winning film director Michel Gondry, best known for Eternal Sunshine of the Spotless Mind, tells the tale of an imaginary creature that lives under the bed of a little boy called Joe.

As with many of John Lewis’s annual campaigns, it follows a similar formula of friendship with a heartwarming ending. Following a round of snoring and farting, Joe and Moz play together every night until it all gets a little too much for the former and he can barely stay awake during the day. Moz comes up with a solution in the Christmas present he then gives him – a night-light that takes away the monster whenever he needs it to.

The soundtrack to the film is a cover version of The Beatles’ Golden Slumbers by Elbow.


“This year’s Christmas campaign brings to life the power of children’s imaginations and the joy of great friendships,” said Craig Inglis, John Lewis’s customer director. “Moz and Joe’s story is magical and heartwarming and I’m sure it will be loved by all of our customers, young and old.”

As with previous years, the film itself is only one part of a much wider integrated campaign. John Lewis first started teasing it with short #underthebed clips on social media, alongside changing some of its store signs around the country so that the “o” and “e” of its logo were eyes instead.

Innovative approaches this year then further include a partnership with voice activation device Google Home, through which users can download and personalise the story with their own sound effects. The story, which is read by actress Sally Phillips, can also be downloaded on the John Lewis website and via Sky boxes.

John Lewis's #MoztheMonster Christmas campaign teased in its store logo
John Lewis’s #MoztheMonster Christmas campaign teased in its store logo

The retailer has also become one of the first to make use of Facebook’s new augmented reality feature, enabling fans the ability to “Mozify” their faces. In 10 stores around the country, they can also do so in person at a Monster Maker station. At Johnlewismonstermaker.com, meanwhile, there’s an interactive experience where users can customise their own version of Moz – changing his shape, colour and smile, before adding their own scribbles all over him and choosing their favourite “fart” sound. He then dances depending on which area you press on him.

Further in-store activations include “the world’s first farting and snoring window” on Oxford Street, and a range of merchandise including toys, mugs, pyjamas and more. Proceeds of the sale of certain items go to charity partner Barnardo’s.

Customising our own version of John Lewis's #MoztheMonster
Customising our own version of John Lewis’s #MoztheMonster
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social media

All the details of Gap’s #BacktoBlue campaign

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Mashable may have reported on its Tumblr mobile ads, while Advertising Age covered its return to TV, but Gap refers to its new Back to Blue campaign as its “broadest-reaching in the company’s modern history”. In total it spans print, outdoor, mobile, direct, social, in-store, digital and TV.

Launched for autumn/winter 2013/14, it aims to celebrate Gap’s denim legacy. Says Seth Farbman, global CMO: “Back to Blue means getting back to what matters most – our truest selves, when we are most comfortable in our own skin.It’s both a statement of how we feel as a brand, and how our customers want to live their lives and make their decisions. With style, people are seeking authentic denim and chambray – clothes you can wear almost anywhere but never forget who you really are.”

Here’s everything it includes:

  • Digital content can already be seen across the brand’s social platforms spanning everything from short films (uploaded to Instagram no less), as well as photographs and animated GIFs. The assets feature 24 “influential millennials” including Tanisha Long from MTV’s Girl Code and Urban Bush Babes blogger Cipriana Quann. Each of them shares “simple, raw and relatable stories about what it means to be one’s most authentic self”. 250 pieces of content will be created in total, released over a three-month period
  • An animated GIF has also been posted on Tumblr by fashion blogger FashGif to introduce a contest that invites other digital artists to share what Back to Blue means to them. The winning works will be turned into Tumblr mobile ads and showcased across all of Tumblr’s mobile units on one day. This is the first time a brand has done so
  • Gap returns to TV for the first time in four years this season too, with a spot set to release in mid-September. That ad is expected to first debut on Twitter. Said Farbman: “We have always been a brand that benefits from moving pictures, sound, emotional engagement. …Also, the reality is that TV continues to be the medium that gets you mass reach quickly”
  • The retailer’s ongoing Styld.By initiative, which sees Gap product brought to life through the editorial perspective of various established bloggers, will hit 30 countries this season with the addition of Russia, Singapore and the Philippines. In a bid to dive deeper into interest communities, it will see Refinery29 styling fashion and lifestyle bloggers, Mashable styling technology influencers and Eater styling chefs. It will also see a video series launched featuring style advice from Jenn Rogien, costume designer for HBO’s Girls and Netflix’s Orange is the New Black
  • In a traditional media sense otherwise, the campaign also includes outdoor and print magazine advertising in key global markets. Those portrait images were shot by Inez and Vinoodh, and star the likes of Adam Driver from Girls and model Dree Hemingway
  • And finally, Gap has partnered with Vice magazine for a global art project that will see 10 outdoor murals created by emerging street artists Zio Ziegler, Roman Grandinetti and Andrew McAttee. The Art of Blue, as its called, will bring the campaign concept to life in New York, San Francisco, Los Angeles, London, Paris and Rome

 

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film social media Uncategorized

Topshop teases holiday film with social game of celebrity guess who – #whosthatgirl

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Given the fact online films now pop-up left, right and centre from fashion brands and retailers, it’s always fun to see those who go the extra mile to make sure their fans are fully engaged ahead of launch, almost securing the spot’s virality before it does so.

Kudos then to Topshop, who has made its first holiday campaign an altogether more significant affair by using social media to tease who its star is.

“Winter Wonderland” will premier tomorrow on YouTube, fronted by a Hollywood A-lister. Accordingly, Topshop has been using Twitter, Facebook, YouTube, Google+, Tumblr, Pinterest and Instagram to build anticipation as to who she is.

 

Five teaser trailers reveal shots of her from the neck down, pictures on Instagram capture her in London over the weekend from behind, and comments on Twitter provide clues into where she’s from and what she likes doing. A board on Pinterest houses everything together in one space.

All of it is accompanied with the hashtag #whosthatgirl encouraging consumers to guess for the chance to win a £500/$1000 shopping spree at the store.

Justin Cooke, CMO at Topshop, said: “We are very excited about the launch of our first Christmas movie, its a true 360 degree campaign with some surprise elements that you will see tomorrow! We wanted to create real anticipation before it premiered and it looks likes its working with over 100,000 people watching 10 second teasers and an incredible number of posts and tweets across all platforms.”

Some of the clues have included:

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This one is particularly fabulous:

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And the guesses have been flying in. “From Elizabeth Olsen & Georgia May Jagger to Whitney Port & Diane Kruger…” tweeted Topshop on Saturday, December 1. So too have there been suggestions such as Cara Delevingne, Kate Bosworth, Chloë Grace Moretz, Emma Stone and more.

Fans themselves have been saying things like: “@Topshop’s #whosthatgirl competition is so addictive, keep trying to guess who it is, I really haven’t got a clue!”

And: “@Topshop #whosthatgirl can’t wait til Tuesday to find out if I’m correct, most fun game I’ve played in a long time, feel like a detective!”

And: “Tortured by @Topshop’s #whosthatgirl campaign. Talk about brilliant social media marketing. Can’t wait to find out who she is tomorrow!”

As for the film itself, Topshop says its inspired by The Fabulous Baker Boys – the film that made Michelle Pfeiffer famous. Until tomorrow then… (and some more pics below in the meantime).

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film technology Uncategorized

Fashion industry can still learn from big winners at Cannes Lions

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You may well have already seen that Nike+ FuelBand scooped the biggest awards at this year’s Cannes Lions International Festival of Creativity – a week-long event held in June celebrating the best in advertising from around the world.

A wristband that measures your everyday activity, it won the coveted Titanium and Cyber Grand Prix for the way in which it goes a step beyond technology and inspires consumers to act.

As Stefan Olander, vice-president of digital sport at Nike, said during the festival: “Technology is no longer remarkable, it’s what we do with it and how we do it that’s unique.”

That comment is a nice follow up to an article I wrote for the Huffington Post last year calling for the fashion industry to be more creative in their campaigns; to produce work worthy of winning at Cannes.

“Fashion – an industry with creativity at its very core – needs to shake off its seasonal collection focus and start thinking instead about campaigns built around big ideas,” it read.

Since then, there’s been a lot of innovation from brands and retailers, especially when it comes to technology; quirky Pinterest campaigns, multiple app launches and much play with augmented reality.

But, as essentially suggested by Olander (and in my Huff Po piece), there still needs to be less focus on technology for technology’s sake, and more on overarching campaigns that solidify brand purpose.

Paul Kemp-Robertson, editorial director at Contagious Communications, emphasised the same during Cannes: “Normal people don’t care about the technology, they care about what comes out of it: the experience.” He suggested marketers need to forget about the “dude we should…” philosophy; “dude we should do an app”, or “dude we should launch a QR code” for instance. There’s little benefit in becoming obsessed with doing something just because everyone else is, he explained.

Accordingly, it’s all very well launching on Pinterest, so too is it understandable to push out a seasonal video, but when those initiatives just end up as another example of products over ideas, it not only gets boring for the consumer, but ultimately unsuccessful in terms of ROI.

Some are doing it right. For one, the increasing focus on film has resulted in some outstanding creative work. The new Roman Polanski-directed short for Prada is a great example – despite the fact focus is so heavily on a jacket from the recent collection, the viewer is entirely distracted by the storyline.

I also love Dior’s Secret Garden Versailles spot; it fits beautifully with the image of the brand, even though strictly speaking it has little in the way of a tale to go with it.

The rest of the autumn/winter 2012/13 ads are also just starting to drop, so here’s hoping there’ll be more that push the envelope beyond the typical product focus of print imagery. Unsurprisingly, Burberry is already proving a great example with its multimedia campaign, celebrating both its brand and London through “imagery, film, music and weather”.

The question is, were any of them to be entered at Cannes, would they win? I for one would love nothing more than the likes of a Calvin Klein or Marc Jacobs or even a Chanel initiative sweeping the ceremonies at the Palais one day… here’s hoping.