|Client||DOCTORS OF THE WORLD|
|Category||B08. Calendars, Invitations & Greetings Cards|
|Product/Service||INTERNATIONAL MEDICAL CHARITY|
|Entrant||McCANN LONDON, UNITED KINGDOM|
|Idea Creation||McCANN LONDON, UNITED KINGDOM|
|Media Placement||UM MANCHESTER, UNITED KINGDOM|
|PR||PERSUASION COMMUNICATIONS London, UNITED KINGDOM|
|Production||CRAFT WORLDWIDE London, UNITED KINGDOM|
|Rob Doubal||McCann London||Chief Creative Officer|
|Laurence Thomson||McCann London||Chief Creative Officer|
|Mike Oughton||McCann London||Creative Director|
|Olly Wood||McCann London||Creative|
|Matt Searle||McCann London||Creative|
|Rob McDonald||Craft Worldwide, London||Retoucher|
|Pam Oskam||Craft Worldwide, London||Art Buyer|
|Jon Marshall||McCann London||Project Manager|
|Dan Howarth||McCann London||Head of Art|
|Sergio Lopez||Craft Worldwide, London||Head of Integrated Production|
|Sophie Chapman-Andrews||Craft Worldwide, London||Executive Producer|
|Ellis Faint||Craft Worldwide, London||Studio Manager|
|Liam White||Craft Worldwide, London||Print Producer|
|Muhammad Qasim||Craft Worldwide, London||Artworker|
|Francois d'Espagnac||McCann London||Account Director|
|AJ Coyne||McCann London||Business Director|
|Tom Baines||McCann London||Account Manager|
|Charlotte Walters||McCann London||Planner|
|Nick O'Quinn||McCann London||Planner|
|Louise Ringrose||McCann London||Director of Communications|
|Rami Noumaan||McCann London||Marketing Executive|
|Molly Deaville||UM Manchester||Media Account Manager|
|Sanjiv Mistry||McCann London||EMEA Creative Director|
|Jamie Mietz||McCann London||EMEA Creative Director|
|Dan Good||Craft Worldwide, London||Editor|
|Blake Dixon||Craft Worldwide, London||Editor|
|Romina Contepomi||Craft Worldwide, London||Agency Producer|
|Chris Gilbert||Craft Worldwide, London||Sound Engineer|
|Michelle Prinsloo||Craft Worldwide, London||Agency Producer|
The CampaignEvery Christmas, we see romanticised images of the ‘Holy Land’. Everything looks calm and peaceful. Yet today, the Middle East is ravaged by war. For charity Doctors of the World, we brought this inconvenient irony to the fore with #RealityXmas - a set of Christmas cards designed to spark debate, provoke outrage, get petition signatures and increase donations. Combining traditional nativity scenes, synonymous with the festive season, with genuine 2016 editorial war images, they become a set of unique, and powerful visuals went global, gaining an unprecedented response.
Creative ExecutionEach card merged real, editorial war images from 2016 with traditional nativity scenes. Hours upon hours were spent, scouring libraries, the Press Association and contacting authentic nativity artists, to find visuals that compositionally would fit together in a square format. Images were also chosen so that each card had its own unique story, that re-imagined key nativity stories in contextually relevant ways. The cards needed to feel like those synonymous with Christmas. And so the editorial, photographic images needed to be meticulously crafted, to ensure that texturally, the overall image felt like one seamless whole. With warmth, grain, and the rich colours of classic cards. Stock was critical in ensuring this end result. And so when held, they felt authentic. Copy was also written and designed specifically to ensure they worked not only as a piece of informative and provocative communication, but also retained the feeling of genuine Christmas cards.
Indication of how successful the outcome was in the marketOverall the cards had 1.78 billion online impressions, causing a 1853% increase in site traffic, acting as a catalyst for 152,468 ‘Free Aleppo’ petition signatures (7,623% above our objective), a key KPI, along with donations that soared at 336% above our initial target, enabling DOTW volunteers to continue to provide critical medical aid across the Middle East. Despite DOTW being UK based, it was an international success. Coverage on CNN news, BBC Online, Time magazine and International Business Times, spurred huge interest worldwide. Further publications covered the campaign globally, including the US, Australia, Israel, Indonesia, Netherlands, Korea, Brazil, Germany, Malaysia, and South Africa to name but a few. And it was even embraced by religious leaders. Subsequently, orders for Christmas cards rolled in, and we successfully delivered the concerns of the world to the UK government. The value of people engaging with the brand on this scale was unprecedented.
Our strategy was to achieve maximum impact within a small seasonal window: advent. Focusing on our provocative Christmas Cards as our core campaign element, surrounded by print, radio, social media and OOH. Our target audience – to ensure the message spread, and people signed the petition – were international, professionals and retirees, those interested in humanitarian issues, as well as the mid-market and encouraging action from beyond the usual third sector supporters in media. But most significantly, we targeted politicians through this coverage, and the cards themselves, to apply pressure at this critical time. The call to action was simple: purchase the cards and by doing so spread the word, and sign the petition – to bring the Aleppo crises to the fore.
Ice Skaters shows the dreamy and slightly surreal spectacle of a middle aged couple spinning and gliding on the polished wood floors of an elegant, high-ceilinged apartment in their socks. With the tagline 'Bring life into your living room' it is a beautifully crafted advert creating a warm, nostalgic mood for the brand, Ikea. It won Bronze at Eurobest in 2018 for production company CZAR Brussels. Director, Joe Vanhoutteghem and producer, Lander Engels talk to Eurobest about the experience of creating the work.
The team at Marvelous Moscow have the answer. CCO, Artem Sinyavskiy shares the story of how their work for Skylink, 'The 1 MB Campaign', went on to win Bronze at Eurobest in 2017, despite the media budget being pulled a week before the launch of the campaign.
PS21 Madrid, the creative transformation company set up by founder of creative agency dommo Agustín Vivancos, was in its first year when the team began work on Searching for the Special Colour of Seville. It was a piece of work that would not only go on to win the agency’s first major award, Bronze in Creative Data at Eurobest in 2018, but would also become part of Seville’s cultural heritage. We hear how the idea came to life from Strategy Director, Sergio Garcia and Executive Creative Director, Victor Blanco.