Name a brand or media channel and Bill Green’s probably worked on and in it. An art director by trade, he’s focused on an overall holistic approach to brand madness that merges the worlds of traditional, digital and social – whatever it takes.
Having worked previously with Darryl and Humongo and current AdVerve podcast partner with Angela, he’s currently doing creative strategy and pitch development with BFG in Hilton Head. The ad blog Make The Logo Bigger is about his experiences in the world of advertising and beyond.
Angela Natividad is a strategist, copywriter and journalist based in Paris. She writes MarketingProfs’ #SocialSkim, is a frequent guest on marketing podcast The Beancast, and co-hosts AdVerve the podcast. Most of her secret thoughts are on her blog, Live and Uncensored.
Darryl Ohrt is a former punk rocker, and Executive Creative Director at Carrot Creative, in NYC. In addition to his posts here, he also writes for Advertising Age’s Small Agency Diary, as the voice of the small guy in a big, big world.
After founding the legendary agency Humongo, he sold out to the man, left the entrepreneurial life and joined Carrot. Now he’s the self proclaimed Prime Minister of Awesome, and he’s tweeting, blogging, and exploring the internets as if it matters. He knows just enough to be dangerous, and is always ready for action.
Cartier follows up its short films “L’Odysée” and “Destinée" with a new series of ultra-shorts called Paris Nouvelle Vague, which promote a line of same-named baubles. A total of seven films follow different archetypes of dreamy Parisian women. Each appropriates the classic song “I Love Paris” to its own ends, and of course there’s plenty of bling-porn, coupled with all the Paris clichés we know and love.
Above you have “The Delicate”. See the rest below.
We know it’s a little too soon to compare its digital play to UNIQLO, which has an enormous social track record. But pair this with its ongoing brand storytelling (see delectable most recent vid) and whimsical web content by Karl Lagerfeld, and we’re thinking this icon of luxe can toy with tech like the best of them. And that it isn’t afraid to experiment on a broadening scale while keeping production values high. (When does that ever happen?)
We told you in October about Inside Chanel, a chapter-by-chapter web series that would slowly derobe the brand with the distinctly feminine mystique.
The “Marilyn Monroe & Chanel N° 5” chapter’s just come out, and we’re captivated. The rhythm, the imagery, and the storytelling all flow just right. It’s sexy, it swaggers, it teases at knifepoint. Give it a go (and turn the subtitles on if you need them). If nothing else, you can call it research on how a brand association with an icon can tumble into legend with a small, spontaneous phrase.
So, first piece of news: this is the latest ad for Chanel N° 5, starring Brad Pitt. Yay if you’re into that.
Second piece of news: somebody worked out that these words can actually be used to market anything. Anything! So they took Brad and his dourface poem-slamming self and ripped all the Chanel off and turned him into an ad for St. John’s First Aid.
Lo and behold! It still works. We await other takes with great eagerness. Our only worry is that, as what he’s saying really doesn’t say anything, there’ll never be a context in which this gets embarrassing, ironic or funny.
Sigh. We smell the ultimate meme-killer.
If the history of Chanel is your kind of fairy tale, you’ll rather dig Inside Chanel, which will derobe itself for netizens chapter by chapter, with a video devoted to each.
This first chapter recounts the “legend” of Chanel N°5, making generous use of unedited documents to patch an engaging story out of what is, at the end of the day, just another mass-produced product that Alchie Auntie wears too much of to mask the odour of that other kind of alcohol.
We’re suckers for a good window display, and some stores have been always been better-endowed than others.
Bergdorf Goodman is one such store. For its 111th anniversary documentary, Scatter My Ashes at Bergdorf’s, which debuted at New York Fashion Week, agency Scarlett selected some of its most extravagant window displays and brought them to life. That segment is below:
According to Scarlett, “subtle and easily overlooked movements” were added to each animated sequence so that, if for some reason you watch this video more than once, you’ll have something new to discover each and every time.
It would’ve been epic to see some of these displays in the flesh (or at least in the mannequins’ original dull-eyed plastic). Something about them brings nativity sets to mind: that mise en scene, that tribute to the extraordinary, that gentle glint in a corner, and the quiet homage we inevitably pay. (Often followed by a tithe.)
Ever wonder what jewelry’s response to the chocolate factory was? It’s Van Cleef & Arpels. The jeweler has launched a virtual tour of its workshops, beginning with that most familiar of rooms for ye ad folke: the Creation Room. Travel from room to room to learn how wrist candy or a magnificently frosted necklace go from concepts on paper to cooling off the necks of lucky recipients the world over.
All and all we liked the tour. It represented clean, serious work that kept riffraff and extraneous production to a minimum — rare qualities when dealing with virtual spaces.
There it is in all its glory. Feels very Zadig + Voltaire.
It made its first appearance in Vogue Hommes Japan as of yesterday. Featuring ex lead singer Christopher Owens of Girls, this shot of a rock n’ roller in existential (yet aesthetic!) pout mode is one of 15 images that Hedi Slimane has shot for its newly-branded house.
If so inclined, read about the transition from Yves Saint Laurent to Saint Laurent Paris.
The ad — which lends new meaning to the notion of the face as canvas — wraps with a cacophanous repetition of a Coco Chanel proverb: “If you are sad, if you are heartbroken, make yourself up, dress up, add more lipstick, and attack. Men hate women who weep.” Tuck that one into the scrapbook, sweetheart.
We told you in June about Louis Vuitton’s plans to put Mohammed Ali back in the limelight with “The Greatest”. The first installments, featuring Mos Def and calligrapher Niels Shoe Meulman, are fresh out.
"Word" is above. Using an empty arena for a stage, Mos Def’s words weave Mohammed into myth as Meulman ambles around him, humble as a janitor, printing "Word" onto canvas.
See “Dream” below:
Spankin’ new creative director Hedi Slimane of Yves Saint Laurent has made a controversial decision: to dramatically change the logo and iconography of the fifty-year-old couture house. (See first photo at top.)
Yves, the first name of YSL’s founder, has been cut out of the logo, with Paris added for good measure. The iconic typeface has also been altered to convey a more minimalist, chic-boutique feel.
The change is receiving mixed reactions online, but Slimane appears committed to the cause, having just presented the new identity on YSL’s Facebook page. If he expected instant applause, he didn’t get it, but radical change is never welcomed that way, so no surprise there.
Slimane also plans to overhaul signature items like handbags, a still juicier prospect: it’s the product, in-store experience and marketing changes we’ll be most interested in as we measure whether this new identity sticks.
Prelim questions for the logo refurb itself: will the recognisable YSL initials also change? What happens to all those YSL URLs? (SaintLaurentParis.com redirects to YSL.com, so the house will probably just keep both and push traffic to the new domain in all future marketing.) And while the new aesthetic may be more 2.0-friendly, does it dilute the long-term identity of the brand itself?
Because for cryin’ out loud, YSL ain’t hipster haven Colette. We say this in response to Slimane’s two most conspicuous choices in the redesign:
This last point also speaks a great deal for how Slimane sees YSL: as stodgy, with a history whose weight eclipses its value, and whose finger slipped off the pulse so long ago it can’t even credibly stand on its own any longer; it must stand on Paris. And maybe on Slimane himself, whose preference for minimalism is well-documented.
This perception may be correct, and Slimane’s merciless gutting may be exactly what YSL needs. It remains to be seen whether he leads this metamorphosis with a steady hand or a slack one.
Of recent note, YSL released the first-ever makeup palette available only to Facebook fans. The original iconography remained intact.
UPDATE, JULY 27: digital marketing director Carla Henny de Préval of Yves Saint Laurent responds to this article via Facebook:
Well he might have done a little checking before making up his mind actually … You probably would be interested to know that the name … Saint Laurent was the Original RGauche name and was only changed to Yves saint Laurent much later. Hedi Slimame is in fact going back to the roots of the brand and Is supported by Pierre Berger in doing so. You might want to read the itws they gave in recent press ;) …sheds an interesting light in the choices made :)
We did our digging. A Forbes article, which expressed rebranding concerns similar to our own, was also updated to include the following clarification, released by YSL to the press:
Over the course of the last two days, representatives from YSL have provided additional clarification. The YSL logo will actually remain intact and the name Yves Saint Laurent will continue to be used. The Ready-To-Wear line, originally branded “Saint Laurent Rive Gauche” in 1966, will be re-named “Saint Laurent Paris.”
As a digression in anecdote-land, we looked up what the original Saint Laurent Rive Gauche logo looked like and came across a whole basket of fancy, which we’ve included in the gallery above.
The YouTube how-to girls will be going crazy for this one. To demonstrate its social love, Yves Saint Laurent Beauté is pulling a first in its industry and launching a makeup palette sold exclusively to Fans on Facebook.
The “Devoted to Fans” product line, produced in partnership with Facebook, goes live with the “Pantone Facebook” palette, of which only 1650 will be produced for the brand’s fan page.
In an interview with FrenchWeb, marketing and digital director Carla de Préval of Yves Saint Laurent said, “Before I arrived there’d already been a number of cool productions, and since my arrival we’ve tried to push things a little further, to have a complete and global vision of digital — to separate ourselves from a completely internet-oriented vision and to really digitalize all points of contact.”
Definitely a hype worth following. The playful spirit that goes into producing a quality product for Facebook fans also reminds us of Jimmy Choo’s Catchachoo effort for Foursquare. Because we’re in a time when the fun and frivolous energy of fashion is being democratised, breaking out into the world and becoming contagious, like a fever. Ironically it took a screen to do that.
We often forget there’s a raw but polished class to the history of boxing — think of the black-and-white matches on the television, and of the flagrantly wealthy well-coiffed men and women sitting ringside, awaiting blood.
Louis Vuitton hasn’t forgotten, though. Next month it launches a “digital experience” featuring the inspirational words of Muhammad Ali. The contributions of calligrapher Niels Shoe Meulman and Mos Def make this mashup a compulsive must-watch.
Wait for it at LV’s subsite, The Greatest, whose welcome image drives the connection home. You’ve got the elderly Ali, gazing at his grandson, a tiny version of himself, wearing the champ’s boxing gloves: a distinctive use of leather that offsets the sizeable Louis Vuitton Keepall 50 bag at his feet.
Hermès’ pop-up shoe shop opened in Paris Monday morning. To draw curious flaneurs-by, the house has produced “Walking Distance”, which walks us there in style.
Two complaints: no doorstep finish, dull production. I wouldn’t call this the Birkin Bag of web teasers, but there’s plenty of product for the shoe thirsty.