They make the work you wish you'd made. Work that makes you think, makes you laugh, makes you feel, and—perhaps most of all—makes you jealous. It's also work that works, and keeps clients coming back for more. As part of Adweek's Creative 100, we've chosen 30 rank-and-file agency creatives, from copywriters and art directors up to executive creative directors, who are making some of today's most creative and compelling advertising—setting the gold standard for the industry.
Neil Heymann and Kevin Brady
Executive Creative Directors
Droga5, New York
Heymann and Brady were made ecds at the same time, and are both widely celebrated for what David Droga calls a "humility, character and generosity that has earned them unwavering loyalty" at the agency. Heymann, an Australian with a digital background, won scores of awards for his Jay Z/Bing work and the Prudential Challenge Lab, and has been focused lately on the Toyota Mirai fuel cell vehicle. Brady gave Honey Maid a relevant, progressive voice with ads about modern families, and is also proud of the recent "No Ceilings" work for the Clinton Foundation. "We want everybody who comes to Droga to make the best work of their lives—to feel both challenged and supported and mentored," Brady says of nurturing creative talent. Adds Heymann: "Kevin and I agree on the big things, like what makes this agency tick, and our opinions are different enough on the other stuff to keep it interesting. We also agree on hairstyling."
Director of 72U
72andSunny, Los Angeles
An inventive, collaborative, process-based artist, Scileppi was the perfect person to design 72U, a three-month residency that invites creative thinkers—many of whom have never made an ad—to explore innovation in fields like fine art, computer science, architecture, product design and law. Scileppi specializes in creating frameworks that allow people to interact. Recent 72U projects include a light-reactive pop-up gallery that gave lasers to visitors and let them be artists; an interactive music video with an online message board as an interface; and two four-story murals about privacy in the digital age. For one personal project, Scileppi made 412 new friends in 412 days, wrote about each of them, and invited them all to a gallery show of her writings. "Collaboration starts with consciously choosing to be open," she says. "Feeding off of other's passions. Looking for opportunity. And asking yourself, what could we make together?"
SpecialGuest, New York
Duffy first made his name as a director with an appealing handmade aesthetic in ads like Audi's "Unboxed" spot from 2008. This caught the eye of Google, which wanted tactile ads to give its virtual products some weight, and got Duffy to make the Chrome Speed Tests and, famously, the "Parisian Love" Super Bowl spot. He has since opened his own agency, SpecialGuest, made impeccably designed, visually delightful ads for Squarespace and Frooti, and co-directed OK Go's "The Writing's on the Wall" video. "I've approached my work as a visual communicator first and as an artist second," he says. "At the same time, I always find that the best visual communication is the most artistic and creative concept and execution. The result is a hybrid mashup of strategic thinking and experimental making. Attacking just one of those isn't enough." His goal for any piece of work is lofty. "We have to approach what we do like we are artists from the Italian Renaissance," he says. "We should go for a lasting cultural impact every time."
Executive Creative Director
RPA, Los Angeles
Sperling wrote the best ad campaign of the 2000s, Apple's "Mac vs. PC," at TBWA, and has followed that up with five years of groundbreaking work on Honda at RPA—from the Ferris Bueller Super Bowl spot to "Project Drive-In," which has saved 27 drive-in movie theaters from closing. He's also in the process of releasing a new marketing book, Look At Me When I'm Talking to You, page by page on Instagram. "I have high expectations for the group that I lead and impossible expectations for myself," he says. "I love nurturing talent and leading by example. I have fairly simple goals—do smart, breakthrough work with respect for the folks you work with and without a ton of ego." He adds: "I enjoy the challenge of connecting with today's jaded, cynical and over-stimulated audiences when technology and media have made engagement so difficult. It keeps me up at night. It makes me restless and twitchy. And it's why I still check my iPhone when I'm on vacation. But I love it."
Executive Creative Director
Venables Bell & Partners, San Francisco
McGinness got Reebok to "Be More Human." And it's a philosophy that extends to much of his advertising work—from Intel's "Look Inside" films (about the life-affirming work of pioneers like Mick Ebeling and Jack Andraka) to Google Fiber's "Nick's First Pitch" (which enabled a 13-year-old to throw out the first telerobotic first pitch in Major League Baseball history) to Google's recent lauded "City Gym" spot for Pride Month. Even his clever work in social media, like Reebok's Human Dispatch Service for shoe delivery, has that personal touch. In February, McGinness was promoted to partner and now oversees Venables Bell & Partners' entire creative department. "I like work that makes people feel something," says the former Goodby, Silverstein creative director. "It may be a laugh or something more, but it's that human connection that matters most in everything we do."
Executive Director of Product Innovation
Crispin Porter + Bogusky, Boulder, Colo.
Why sell your work when you can own it? Riddell has been preaching that gospel since 2007, when, after a decade at CP+B, he founded its product innovation unit. Product development partnerships since then have included the bike-sharing system B-Cycle; the environmentally minded mechanic brand Green Garage; and the award-winning spirit brands Angel's Envy Bourbon and the Hemingway-inspired Papa's Pilar Rum. (The unit is now expanding into lifestyle, fashion and tech.) "At the center of our process are three things: relentless investigation, the questioning of conventions and the seeking of opportunities to innovate or invent. We strive to build layers of meaning and depth into each product as well as their surrounding communications," says Riddell. "We're leveraging the power of creativity, technology and design to create what we hope to be enduring brands. We're doing this by taking a holistic approach to design—developing the brand, product and digital ecosystem in unison. We believe this is the most effective way to create memorable products and lasting experiences."
SS+K, New York
After a decade at agencies including HudsonRouge, mcgarrybowen and Anomaly—where she was the very first creative hire back in 2006—Lanpher found a home at SS+K, working on The New Yorker, Sirius XM, Jackson Hewitt and Wells Fargo. But her smash hit was writing the award-winning "Awkward Family Viewing" campaign for HBO Go. To prepare, she studied the dialogue of HBO comedies, which are "so next-level, they gave me something to shoot, miss and then keep shooting for," she says. "After that it was pretty prosaic, just writing a ton of scripts until we found the pace and rhythm you eventually saw." Lanpher is humble about her process. "Most days I'm just that blind squirrel hoping to trip over a nut," she says. "I like to read, so when I get a new assignment I'll often go to my ever-growing to-read list and pick something that best aligns with the project, hoping the language and thinking of a more accomplished writer will percolate into my brain," she says. "I've learned over the years that I need to do a ton of writing up front, to flush out all the crap before I can get to anything that wont get me laughed out of the industry."
Peter Moore Smith
Executive Creative Director
Saatchi & Saatchi, New York
A former creative star at BBDO, Smith found viral success at Saatchi with the Derrick Coleman spot for Duracell and the Cheerios ad that provoked a debate about race. A novelist, short story writer and screenwriter (his film Forgetting the Girl won the audience prize at the SoHo Film Festival in 2012), Smith also recently turned to directing. Among his projects: a Saatchi PSA exploring "The Talk"—a conversation that often takes place in black homes in which parents warn their children about potentially violent encounters with the police. "An advertising idea is nothing if it doesn't make someone smile or laugh, or give rise to an emotion, or change someone's view of something," he says. "The ideas I like the best are [the ones] that transcend the threshold of the rational mind and put the message in the context of something human and meaningful. Usually, and for me at least, that's a story, but it can also be an image or a joke, a new thought or point of view, sometimes even just a handful of well-chosen words. The continuously exploding and expanding media landscape has made these options infinite. The real challenge is whether our creativity will keep up."
Dan Lucey and Chris Beresford-Hill
Executive Creative Directors
BBDO, New York
It's tough to do comedy and drama equally well, but Beresford-Hill and Lucey are preternaturally skilled at both. They've kept Foot Locker relevant with wry comic spots tied to story lines from sports (including a Mayweather/Pacquiao spot that's credited with helping to make the fight finally happen), while their Guinness ads, including the famous wheelchair basketball spot, are beautifully evocative. Partners at BBDO since 2012 (after both did stints at Goodby and Saatchi), they've also teamed up on HBO and FedEx. "To talk about our creative philosophy implies we have it all figured out, and we don't. We try to make sure everything we pursue is based on a true insight, and then we work tirelessly on it, except when we take breaks to write blurbs for Adweek," says Beresford-Hill. Adds Lucey: "We're a great team because we're always 100 percent honest with each other. For example, Chris already mentioned I could have taken a better photo for this article. There's truth to that. Sometimes this strategy ends with one of us crying a little, but overall it saves us time and allows for us to get to the best work possible."
The Martin Agency, Richmond, Va.
This Louisiana native and Yale grad started agency life in Atlanta, spent two years at Y&R New York, then returned to the South in 2008 to work at Martin in Richmond, Va. There, he helped to create the American Cancer Society's "More Birthdays" campaign, relaunched Stoli and, perhaps most notably, wrote Geico's "Did You Know" and "Unskippable" campaigns, with the latter earning Martin its first Cannes Grand Prix. "When my partner, Mauricio [Mazzariol], and I first got the online [Geico] video assignment, it didn't look particularly amazing on paper. But sometimes that's the beauty of having a really small creative window. It forces you to think with laser focus," says Williams (whose prior experiments in absurdism included publishing a book about useless superpowers and inventing a high-five machine). "It's all kind of crazy, because pre-rolls are nothing new and were just kind of sitting there as an overlooked opportunity. By embracing the five-second limitation [for 'Unskippable'], we were actually able to turn something that can be super annoying into something people actually watch to the end and share. It's a pretty big shift when you think about it."
Anomaly, New York
Since joining Anomaly in 2011, Dantonio has helped make some of the most poignant, keenly observed commercials around for brands like Dick's Sporting Goods, Converse and Bud Light Canada. But his best-known work is surely the beloved "Puppy Love" and "Lost Dog" Super Bowl ads for Budweiser. "If you're reading this, you're probably not an adorable puppy who will do anything to get back to your badass Clydesdale best friend," he says. "But you do understand what it's like to reunite with someone you love, and I think those are the types of familiar sentiments we try to evoke." Dantonio is helping to lead Dick's upcoming Olympic campaign and is also prepping Anomaly's first Jolly Rancher ads, which will be … different. "This work is more, er, JOLLY!" he says. "Embracing a different tonality will be a challenge, but one we're welcoming with open arms."
Associate Creative Director
Mullen Lowe, Boston
In her seven years at Mullen, Mileskiewicz has worked on accounts as varied as JetBlue, U.S. Cellular, Barnes & Noble, Panera Bread and Fage. But last year she hit the biggest home run of her career—"World's Toughest Job" for American Greetings. "The World's Toughest Job was the world's biggest creative leap," says the Central Michigan grad. "From the original brief, which was for banner ads. For the client who trusted us. From our humble expectations to what it's become. I'll never forget the day my partner, Blake Winfree, and I received the assignment. The budget was small and the deliverables were standard, but we looked at each other and said, 'F*** it, let's swing for the fences.' " The result: 25 million YouTube views and countless ad awards for a true pop-culture phenomenon. "Everything about the project was wonderfully scrappy, integrated and thrilling," Mileskiewicz says. "I wouldn't have it any other way."
Wieden + Kennedy, Portland, Ore.
A W+K writer since 2008, Kreher has worked on Target, Coca-Cola, Oreo and Heineken, but has excelled in particular on Old Spice—for which he now runs social media. "I try to run the social part of that account like a writer's room," he says, "throwing together a dozen smart, hilarious people from different departments and seeing what happens. You will not believe the amazing things that come out of their brains when they have the freedom to fuck up." Kreher recently published SchadenFreezers, a collection of cruel Popsicle stick jokes, with art director Matt Moore. He also tells people he wrote the iconic Elizabeth Taylor "White Diamonds" commercial, even though he was only 13 at the time. "A good idea is like really disgusting pornography; you only know it when you see it," he says of his creative philosophy. "My job is to help people find a good idea, and then to help them protect it as it gets made."
Executive Creative Director
Tribal Worldwide, New York
After three years at Ogilvy, Edwards arrived at Tribal in 2007. There, he has led creative on brands including the NFL, Advil, Nickelodeon, Pepsi, Philips and Neutrogena. Among his recent standout work: digital support for the IAMS spot "A Boy and His Dog Duck"; a site redesign for H&R Block; and an anti-drug mobile game that got teens to simulate DXM abuse in robots. "Above all else, I believe keeping it simple is always best," says Edwards, who also tries to both respect and ignore trends. "I want to know what's going on in the advertising world—what people are into—but I also want to create something new," he says. "I want to know that something is relatable but fresh. I want to know if it is bigger than just being a thing; it has to be an idea that stands above it all. My gut usually lets me know this. If I don't have a visceral reaction, I know it's not a big idea."
Designer and Founder
Draplin Design Company, Portland, Ore.
The Portland, Ore., design guru has done print, identity and illustration work for the likes of Nike, Burton Snowboards, Patagonia, Target and Ford, and even made two logos for the Obama Administration. He also co-founded the notebook brand Field Notes and markets DDC's own merch. His design philosophy: Be simple and timeless. "Things seem to be getting more and more complex, with more and more typefaces, and each logo is packing 10 pounds into 50 pixels," Draplin says. "A simple grid just makes more sense to me. And stuff like: Pencil on paper. Thick lines. Proper hierarchies of type. Making good use of each element on the page. And trying to enjoy it all." Perhaps it's his Midwest roots, but straightforwardness is a life mantra for the Detroit native as well. "I'd like to be the Barbara Mikulski of graphic design," he says. "Piss, vinegar and not going down without a fight."
Michael Hagos and Sam Dolphin
Art Director and Copywriter
Barton F. Graf 9000, New York
Before jumping to Barton F. Graf, this young creative duo were at Goodby, Silverstein & Partners in New York, where they helped to make one of 2015's most beautiful ads—"Emily's Oz" for Comcast. "It was expected to be a much smaller project about a remote control," they tell Adweek. "But seeing what a person who's blind sees when they watch their favorite movie felt bigger than the original brief. So our tiny office pulled together, punched above our weight, and got the right people to say yes (to giving us lots more money) to do the idea justice. But really, we were lucky to meet such a cool kid." Now, they're thrilled to be working for Gerry Graf, Ian Reichenthal and Scott Vitrone, whom they've idolized "since our awkward years." Of their own creative partnership, they say: "We work well together because we started off as friends in grad school, but more importantly, we make sure to never let each other go to bed angry."
When Mazzei was just a girl, she drew political cartoons for her left-leaning father, who ran them as ads in their local Missouri paper—critiquing the editor's more conservative cartoons. "I was only 11, but the attention I got from these Gary Larson–inspired drawings made me realize the power of art and copy, and I was hooked," she says. "From publishing zines in college to founding an art gallery in Chicago, I sought to make an imprint on culture. A career in advertising gave me a global stage to share my creativity." Mazzei believes advertising should be artful and even make the world a better place—as evidenced in her Valspar effort to bring color to the colorblind. "Whatever story we're sharing needs be filled with passion, creativity and honesty," she says. "I try to bring that sensibility to even the smallest projects I work on. Even one simple Instagram post can change someone's life for the better."
Group Creative Director
The Richards Group, Dallas
Smith was in 8th grade when Motel 6 launched its folksy Tom Bodett radio campaign. "It's one of the reasons I got into advertising, and it's what drew me to The Richards Group," he says. "So, my creative philosophy on that account is simple: Don't screw it up." He hasn't—in fact he's won five Radio Mercury Awards, including the grand prize. "Before I was charged with running it, only a handful of writers had ever touched it. It was this precious, delicate thing," he says of the Motel 6 account. "I felt all this pressure to handle most of the writing myself. But I quickly wised up and opened it up to a more diverse group of writers, including women, juniors, other group heads, even (gasp!) an art director." He then works with each writer to "Bodettify" the copy so it fits Tom's iconic rhythm and humor. Says Smith: "It's gratifying to see it all keep working."
Head of Art & Design
J. Walter Thompson, New York
Equal parts maker and teacher, Padin is responsible for art direction, craft and design on all brands at the agency. Among his creations: a Human Rights Watch installation with hundreds of prison cells made of pens (which visitors used to sign a petition) demanding freedom for Burma's political prisoners; Puma's bold "Forever Faster" visual identity, centered on strikethroughs and underlines; and a children's book about energy conservation that could only be read in the dark. "I am one those people who annoyingly asks a lot of questions. I find it's the best way to learn," he says. "I strive to elevate every piece of creative, whether or not it appears to be a great creative opportunity, or whether or not it's my own idea." He's also a decorated mentor to his team of five designers. "I pick by their books but mostly by their hearts," he says. "I am fortunate to learn as much from the team as they do from me." Photo: Dorothy Hong
Hill Holliday, Boston
This Boston art director is motivated by what supposedly "can't" be done. "Merrell's TrailScape was exactly that," he says of the recent virtual reality project. "It was a perfect example of dreaming big, surrounding yourself with the right people, and pushing to make something truly new and amazing." Senese is also known for his ridiculously heroic Tinder profile, and he's even been approached by a few networks about doing a show. (He jokes that he's holding out for a part on Game of Thrones—perhaps a "socially awkward character … like Reek's slightly emo second cousin who's really into magic.") Of his day job, Senese says: "I'm the classic artist turned advertising art director—overly optimistic and rarely satisfied. I'm like the Fraggle Rock version of Kanye. My approach is simple, though: Have fun. I've found that good creative always finds its way to the surface, whether you're beating your head against the wall or laughing. I prefer the latter."
Dave Estrada and Nick Ciffone
Associate Creative Directors
TBWA\Chiat\Day, Los Angeles
This art director/copywriter team broke through in a big way in 2014 with two major Gatorade projects that broke within a month of each other—the "Sweat It to Get It" prank ads with Peyton Manning and Cam Newton, and the brilliant "Made in NY" retirement tribute to Derek Jeter, which won the Grand Clio Sports award for film. "We were so focused on not messing it up that we didn't have expectations for the response, so when 'Made in NY' went viral we were blown away," says Estrada. "It's great to make work you're proud of, but when non-ad people tell you they're proud of the work, it's a surreal experience." Ciffone says of his partnership with Estrada: "There's a high standard [at the agency], and with Dave and I, we're not afraid to tell each other when we fall short of it. … The fact that we're not afraid to call each other out pushes us on every project."
Associate Creative Director
Publicis, New York
A week before Halloween last year, Doctors of the World asked Jacubovich and her Publicis team for a campaign to raise money for ebola protective suits. "That same day, we saw local news discussing the year's most controversial costume, the hazmat suit," Jacubovich says. "So we instantly wondered, could we turn Halloween's biggest controversy into something positive? And could we do it in a week?" They did—with the brilliant "More Than a Costume" campaign that earned loads of media coverage and awards to boot. Jacubovich credits her team and her client ("They were nimble, they were quick, and they were willing to do something a little scary"), but her boss, executive creative director Joe Johnson, says Jacubovich's tenacity certainly played a role. "Aside from her innate and immense talents, Einav's secret is that she keeps trying long after others have given up hope," he says. "She is unwaveringly, almost delusionally optimistic."
Matt van Leeuwen
Interbrand, New York
An art school graduate from the Netherlands, van Leeuwen brought his strong typography background and playful spirit to Interbrand in 2011. There, he has combined high-profile client work with more intimate projects—notably, the Mandela Paper Prison, a yellow poster, created for Nelson Mandela's 95th birthday, that unfolded into an 8-by-7-foot square, the size of the cell at Robben Island where he spent 27 years. The poster was typographically informed by John Lennon and Yoko Ono's famous "War Is Over" protest sign and set in centered Franklin Gothic Condensed type. "All of this, coupled with the simple use of yellow, made it so that the poster maneuvered between spatial and protest qualities," says van Leeuwen. "Design to me is a way of life," he adds. "For me, there is nothing worse than a day spent without making something—without physically transforming something. The need to create, experiment and play is, I think, essential to the way I work and, above all else, essential to my overall happiness."
Group Creative Director
Carmichael Lynch, Minneapolis
The Northern Virginia native arrived in Minneapolis in 1991 and spent two decades at Fallon, where, most notably, he created Time magazine's "Red Border" campaign. He joined Carmichael Lynch last year, where he has launched GNC's "Beat Average" campaign and contributed to the agency's lauded Subaru work. "To me, the secret to longevity in this business has always been to create work or tell stories—in any medium—that resonate with people emotionally. It never gets old," he says. He adds: "In terms of my personal creative philosophy, I can say this. Any creative success I've had in this business has come from the fact that I've been lucky enough to work with some of the world's best art directors, and I've been blessed, or cursed, with a work ethic that is almost entirely driven by creative insecurity. I've found that if you think every idea you have pretty much sucks, you tend to keep working on it until it pretty much doesn't."
Pete Marquis and Jamie McCelland
Freelance Creative Team
Marquis and McCelland met as creatives at BBDO, and quickly knew they wanted to make comedies together. Now a freelance team, they're best known for writing and directing HelloFlo's two giant viral hits, "Camp Gyno" and "First Moon Party," which logged 40 million YouTube views between them. "People can open up to a deeper message if they're laughing, and they're more likely to laugh at things that are universally true," says McCelland. "We like to do humor with the heart, and heart with the humor." Marquis says of his partnership with McCelland: "Our main thing is we have to align on a vision. And there's a lot of debate and trying to prove each other wrong that goes into that. It can be grueling upfront, but it lets us really connect with the material, and be as close to single-minded as possible on set. ... We're pretty codependent at this point. It's kind of sickening."
Executive Creative Director
BBH, New York
BBH is Caputo's seventh stop in a decorated 20-year career that's included stints at Mullen, Fallon, BBDO, DDB, CP+B and Ogilvy on brands such as AmEx, FedEx, PBS, BMW, Citibank and Monster.com. At BBH, he leads creative on Newell Rubbermaid brands, Harman/Kardon, Great Nations Eat and Sony PlayStation—for which he made the magnificent "Perfect Day" spot set to the Lou Reed track. "Being an avid gamer, it was a dream to make [that] film with one of my favorite songs and with some of my closest friends. The blowing stuff up part was pretty fun, too," he says. He's also proud of the "Foreign PSA" for Share Our Strength—three PSAs shot in one day depicting America as the country that needs help when in comes to solving hunger. "We've been operating under the premise of—best idea wins," Caputo says. "It's the one thing no one can argue and everyone can rally around."
Executive Creative Director, Platforms
An ecd with a user experience background, Greer led the Nike+ FuelBand team at R/GA before opening that agency's Los Angeles office in 2013. She jumped to Deutsch last year to run its platforms group, drawing on her expertise in mobile and social design, e-commerce and game-influenced digital experiences. Among her notable work: the relaunch of VW.com; the VW Golf's "Unleash Your Rrr" campaign; a connected-car device for VW that attaches to the engine and sends all sorts of data back to the driver; and upcoming platform innovation projects for Target and Taco Bell. "A big creative idea on paper means nothing if it's not delivering some real value or utility back to real human beings," she says. "Today's creativity demands the truth. I love the transparency this is bringing to advertising. It forces us creatives and brands to create much more authentic work."
Executive Creative Director
McCann Worldgroup, New York
A 10-year McCann veteran, Bisher had a pivotal year in 2013, when his "Have a Story" campaign won the Jose Cuervo account for McCann New York and his Nature Valley Trail View platform was lauded as one of the world's best digital efforts. The Ohioan now runs Cuervo and is an ecd on Microsoft global. For the former, he's excited to set a new tone with TV work directed by Daniel Kleinman. And for the latter, his team is busy building the global launch work for Windows 10. Bisher's approach to creativity involves "the delightful combination of hard work and pessimism," he says. "To balance that, I surround myself with insanely positive, talented and caring people who not only put up with me, but also make it all work somehow."
In his three years at Fallon, Moehnke has worked on brands including Arby's, Cadillac and Talenti. But he and his team saved their most peculiar vision for Loctite glue—in a pleasantly cockamamie 2015 Super Bowl ad showing a range of misfits grooving to reggae dancehall in bright-red fanny packs. The idea was to "shift the emotional space of glue from feelings of failure to the feeling of winning," Moehnke says. "When you feel that winning vibration, you dance. And if you feel it strong enough, you might just rock a fanny pack." He and his agency colleagues were grooving right along with the ad's cast. "As a creative, the joy you feel while making something gets imprinted on the work," he says. "Subconsciously, I think this is actually one of the first things an audience responds to. Were the makers enjoying themselves while making? I certainly did."
Jones Krahl and Milton Correa
Ogilvy & Mather, New York
This accomplished Brazilian writer/art director team helped to create and launch IBM's "Smarter Planet" campaign, and have worked on a variety of other brands at Ogilvy, including American Express, Grey Goose and Philips. Most recently they were instrumental in quite the advertising installation piece—the crazy Coke Zero drinkable billboard at the NCAA Men's Final Four. "Most people in the U.S, have never tried Coke Zero. How could we make them try it?" they tell Adweek. "Instead of talking about the taste of Coke Zero, we created a campaign that people could literally taste Coke Zero. From a billboard that dispensed real soda to TV commercials and radio spots that could pour people one in real time, we removed barriers and made it ridiculously easy for people to try the product in fun and unique ways. It's advertising you can drink."
More of Adweek’s Creative 100:
Check out all the honorees by category:
• 30 Copywriters, Art Directors and Creative Directors
• 10 Chief Creative Officers
• 10 Digital Innovators
• 10 Branded Content Creators
• 10 Viral Content Creators
• 10 Commercial Directors
• 10 Visual Artists
• 10 Celebrities and Influencers
This story first appeared in the July 20 issue of Adweek magazine. Click here to subscribe.