THEN AND NOWRomancing the Car
Jaguar aficionado Ross Sutherland, executive creative director on Jaguar at Young & Rubicam in New York, has managed to meld his passion with his work for almost a decade.
He was creative director at Ogilvy & Mather in 1992 when the New York shop won the business. “The car was at its absolute ugliest,” he says. “They had squared off all the classic curves.” In its first print campaign, the team leveraged the romance of the car and disguised its shape slightly in woodcut illustrations, Sutherland says. “Probably the first illustration of a car since the invention of the camera,” he cracks.
In Y&R’s first work for Jaguar since winning the account in February, beauty shots are back, mixed with wry supers: “Your high school guidance counselor said you’d never amount to anything. … Your guidance counselor drives a minivan.”
Fox Sports Ads Win Gold
NEW YORK—Cliff Freeman and Partners continues its winning ways with top honors at the Art Directors Club Awards, to be handed out at the group’s 80th annual gala here on June 6.
Cliff Freeman won four golds for its Fox Regional Sports campaign depicting bizarre athletics from abroad. In one ad, blindfolded contestants are supposed to strike each other with clubs, but one man mistakenly pummels an onlooker instead.
TBWA\Chiat\Day in Playa del Rey, Calif., won one gold and 11 silvers for an outdoor campaign for the Museum of Contemporary Art in Los Angeles. Emulating black-and-white museum labels, the ads identify their surroundings as works of art on loan from MoCA.
Hakuhodo, Tokyo, won one gold for a TBS Radio & Communication poster campaign asserting, “You will see if you listen” and a silver for a Coca-Cola TV campaign.
The other U.S. silver winners are Arnold, Boston, for a Volkswagen print campaign, Euro RSCG Tatham in Chicago for a Physicians for Human Rights campaign and Publicis & Hal Riney, San Francisco, for a Discovery.com print campaign.
Fox Sports Ads Win Gold Mezzina Brown, RJR Sued Young Guns Splash of Color
Mezzina Brown, RJR Sued
Some men would be flattered to hear they resemble the Camel Man—the rugged detective in a fedora from Mezzina Brown & Partners’ “Pleasure to Burn” campaign last year. But former model Scott Webster was not amused. In a lawsuit filed against Mezzina Brown and Camel marketer R.J. Reynolds in March, he alleges that his image was illegally lifted from a screen test he took in 1989 to be the Camel Man. The Lake Forest, Ill., resident appeared in several TV spots and magazines in the ’70s and ’80s. He was one of three finalists to be the Camel Man, but never heard anything more from the advertiser as the project was shelved. Then, last May, Webster says he “almost flipped out” when he saw a “Pleasure to Burn” ad in an issue of Mademoiselle. Raised in an advertising family—his father Jim was a creative director at McCann-Erickson in New York and later at Grey in Chicago—Webster knows the value of his face. Moreover, he now works for a health-conscious tea-concentrate company. “It’s embarrassing and damaging to have my face associated with cigarettes,” he says. Bill Brown, president of Mezzina Brown in New York, says, “There isn’t a person at this agency who has ever met [Webster],” and declined to speak further. Gerald Schwartz of Davis & Gilbert in Chicago, who is representing RJR and Mezzina Brown, says the ad was based on another model. “It’s a silly case. We engaged a model, got a release,” he says. “Scott Webster thinks it’s him. … Maybe it looks like him, but it’s not him.” Webster’s lawyer, Andrew Goldstein of Freeborn & Peters in Chicago, says a written response from the client and agency, which was due April 26, had not been filed at press time.
Krista McGlohon, an art director at Ogilvy & Mather, New York, and freelance copywriter Austin Formato will represent the U.S. in the Young Creatives competition at the Inter national Advertising Festival in Cannes, France, next month. The duo beat out more than 90 teams to win the free trip, courtesy of Susan Friedman Ltd.
Splash of Color
Water mixes with blueprints on a glass desk to create 3-D images in Doremus’ TV work for Ace Insurance that broke last week. The images depict what’s possible when insurance diminishes risk, says Danny Gregory, chief creative officer at the New York agency. The tricky part, Gregory says, was mixing animation with footage of flowing water to create something “dreamlike, yet grounded in reality.” Enter Psyop, a New York animation company, which worked with agency producer Joe Calabrese to create the images of a satellite, a jet and a robot.
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