Interview Room

A Special Book

Here Design’s Kate Marlow, Creative Partner, and Solene Leblanc, Designer, discuss the creation of a hand-stitched book to accompany the “Yves Saint Laurent: Style is Eternal” exhibit at the Bowes Museum, UK. Their work won 2015 Best of Show in Book/Brochure.

Vodka project sent agency in search of pure water

When JDO Brand & Design, UK, was given the assignment to create something really special for the introduction of a limited edition of elit vodka from Stoli, creatives went to the Andes for inspiration. Tim Jebb, chairman of JDO, UK, discusses how the award-winning project was done.

An Interview with Folker Wrage, Chief Creative Officer, Havas Worldwide AG, Zurich

An Interview with Folker Wrage, Chief Creative Officer, Havas Worldwide AG, Zurich

 

1. What is the most exciting creative work you’ve seen in the past couple of years? And, why?

I love what the ice bucket challenge did for ALS research, since my brother has ALS - but somehow I can only see this case as a great example for how the viral effect works. If you're lucky. Plus, we have seen too many awards go to causes rather than brands. So... hmm... Okay, my choice (today) is the "Interception" campaign for Volvo at the Super Bowl. Simply because it is combines brains, creativity, and technology to get more attention, more PR, more sales - without spending a ton of money like their competitors.

 

2. When you are working on a project, what is the most difficult phase?

Can't say, really. Honestly. Every phase can be great, and every phase can be pure horror. What most people fight with is the long-nights-no-sleep-phase before presentation. But that's mostly because they had the caffe latte phase after having been briefed. The one where everyone is happily sipping their latte macchiatos when they should be busy creating ideas on their brief. The pain and cost of ditching an idea one week after briefing is small. The pain and cost of realizing that you don't have anything three days before presentation is massive. So the most difficult phase is the one where we messed up the process.

 

3. You have a really varied background, psych major, flight attendant, journalist, how did you veer into advertising? What have you learned of that world?

In a way, the patchwork CV was unavoidable in the days when I started as a copywriter. There weren't any schools that would have taught anyone how to write for advertising. At some point, I was just not satisfied with what I was doing. Coffee or tea, chicken or beef - you know. And all I knew was that I was fairly good at writing. So I tried my luck and ended up at at Ogilvy. But I learned a lot doing all those other things. In advertising, good knowledge of psychology is always a great advantage. Writing as a journalist got me to a point where I could present a portfolio when I met my first boss at Ogilvy. And having worked as a flight attendant is a huge advantage. I can deal with all kinds of people and remain polite. And wherever my international colleagues may come from - in most cases, I can relate to them because have been to where they live. Always something to talk about, even with folks from Karachi or Lagos.

 

4. Peek into the next couple of years: What do you see going on in agencies?

This may sound a little sarcastic, but it isn't meant that way: Much of the same thing. We will still struggle with the perceived need to change the business model of advertising agencies. And about changing the revenue model. And about how to deal with the digital challenge. And about Generation Y. And we will still be using Apple case studies as an example for everything and bore the crap out of people. But on a more positive and constructive note: We will see that creativity will be more and more important, not just for us, but also for our clients. Simply because they can't cut cost forever, can't push efficiency infinitely. Everyone will have to be more creative about everything. And that's when all the folks that keep other folks from being creative will slowly start disappearing. Okay, might take more than a couple of years. But it will happen.


‘Interactive Parking’ project required specialty software

Thorsten Zeh, Head Producer, and Viktor Kislovskij, Creative Technologist, discuss Leo Burnett’s project for Fiat, which involved developing software and keeping computer hardware dry on the streets of Frankfurt.

Humor a winner for dog food

Mark Forgan and Jamie Standen, creative directors at Rosapark, Paris, applied a "fat pants" concept to an English bull dog, resulting in a makes-everyone-smile ad for Jardiland pet foods. The ad was a runaway success in sharing communities, the creatives say. 

Actually filmed at a circus

Jamie Standen and Mark Forgan, creative directors at Rosapark, Paris, went to the circus to win an international pitch competition held by Brother International. They produced "Next Time -- Label It," a funny video on what happens when wrong buttons get pushed during a performance. The work was shot at a circus in Italy.

Agency Exec Peeks Into Future

Aden Hepburn, managing director and ECD for VML Australia, predicts agencies will do more product invention and share the financial rewards from intellectual properties with clients.

6 months to deliver “World’s Best”

CommBank gave VML Australia six months to create the “world’s best” online banking experience for its customers, says Aden Hepburn, managing director and ECD at VML. The project was a success because of a partnership; CommBank was “in the trenches” with VML, working late when the agency people did.

Rip Curl a ‘huge project’

While vacationing in Bali, Aden Hepburn, managing director and ECD for VML Australia, spotted two “dudes” wearing the SEARCH GPS watch his company helped Rip Curl create; it was an exciting moment. The watch tracks surf, speed and distance and may revolutionize the surfing industry. Hepburn discusses the project.

Turner Duckworth-Metallica: Project of Trust

Tyler Brooks, designer of the "Metallica Through the Never Soundtrack Packaging," discusses the genesis of the Best of Show package design and Turner Duckworth’s relationship with the band. The project was done for Q Prime.

Merging Icons: Summer and Coca-Cola

Chris Garvey, design director at Turner Duckworth, discusses the process that resulted in the award-winning "Coca-Cola Summer 2013 Packaging" done for the U.S. market. The design draws on the icons of summer.

"Idea" always superior to technology

Anuranjan Dogra, senior creative director at Havas Worldwide Delhi, sees technology as a valuable tool, but not as valuable as ideas in the world of advertising. "Technology is like the pen," he says in this discussion.

'No Child Brides' long, satisfying project

Havas Worldwide Delhi team worked with "almost no budget" and for many months to create a project that could elevate the issue of "child" marriages in India in their project for Child Survival India. They discuss the difficulty of finding a "face" for the project, the months it took to create a display that involved 39,000 "faces" and their unveiling experience when the wind broke the glass and released the negative energy.

Anderson looks within; offers advice to newcomers

Jack Anderson, CEO of Hornall Anderson brand consultants, Seattle, talks about agency's "Happy Accidents Book," which reviews 30 years of "design and discovery" and won 2013 Mobius Awards Best of Show in Brochure/Book. Anderson shares wisdom about being in the business.

Taking visitors into the city

Christophe Clapier, Creative and Art Director, BETC, Paris, led a project to promote the CANAL+ TV "Les Revenants" series with a mobile website where visitors could experience the city 360-degrees; it won a Best of Show in 2012. His background in video games and advertising helped him, he says.

A panther and multiple locations

Francois Brun and Martin Coulais, Executive Producers for Quad, Clichy, France, won Best of Show in Television 2012 for the visual effects in a film on the history of Maison Cartier, the French jewelry house. They discuss using a real panther and shooting in multiple locations.

Creating a campaign for a non-profit

"I understood the importance of showing what happens in factory farms," says Lorraine Jokovic, CEO of Loud, Sydney, Australia. Loud created "Somewhere," a campaign for Animals Australia that won Best of Show in Cinema/In-Flight in 2012. The film allows factory farmed animals to speak for a kinder world. Loud explains why the concept "was ambitious."

Andy Black, Managing Director of Springetts Brand Design ConsultantsHow To Create Brand Identity

Andy Black, Managing Director of Springetts Brand Design Consultants, London, in this 20-minute interview offers a short course in how to brand and test a product with focus and passion. His “Posh Birds” work for client Noble Foods won Best of Show-Packaging in the 2012 Mobius Awards. Black’s approach illustrates many, if not all, of the qualities Mobius Awards seeks to reward in its competitions.

 

Andy Black Interviewwatch the interview
 

Joey L2012 Young Photography Winner Joey L

In 2012, Mobius Awards introduced the Young Photographer of the Year award and presented the honor to 23-year-old self-taught Canadian Joey L.. His distinctive commercial portrait work for the entertainment industry is juxtaposed with a personal portfolio of strong documentary work. Among his commissions was a set of Oscar nominees – including one of Jennifer Lawrence, demonstrating the cinematic lighting style that Joey L. has forged.

 

Photography expert and Mobius Awards photography chair Lewis Blackwell led the photography selection process. His interview with Joey L can be read here. 


Mobius 2012 Photographer of the Year:

Jan van Endert, Hamburg

"[Shooting photos] is a little bit like a dream; it never seems like doing a job," says Jan van Endert, Mobius 2012 Photographer of the Year. Here he discusses his approach to photography and how the business has changed.
 

Read the interviewread the interview


2012 Cinematographer of the Year:

Ben Smithard, London
Credits include: “Life with Marilyn”

 

Ben Smithard talks about the speed with which a commercial can be organized these days. "I find it interesting to work that quickly," Smithard says, and explains why.
 
Winner 2012 Cinematographer of the Yearwatch the video