This promo could just as easily have been made to promote printing papers, instead of IKEA’s 2015 home furnishings catalog. Created by BBH Asia Pacific, the IKEA marketing video channels the Apple brand persona in style and tone with its uncluttered, plain white background and its wide-eyed, uncynical spokesman explaining the amazing features of IKEA’s bookbook catalog – touch interface, eternal battery life, instant loading with zero lag, fully charged, no cables, expandable interface, preinstalled content, touch browsing, fast scrolling, easy bookmark and sharing capabilities, and voice activated password protection. The bookbook has everything you’ve ever desired in a modern information delivery system. So simple, so portable, so intuitive, it’s a wonder that Apple hadn’t thought of it before. But let’s give credit where it is truly due – to Gutenberg and medieval bookmakers. Steve Jobs didn’t invent the “wheel”; he invented an elegant means to adapt the desirable features of print to a digital platform. The attributes that consumers seek in an information delivery device have been around for at least 600 years, and tech giants have spent the last several decades trying to replicate the kind of ease-of-use offered by paper.
Convinced that advertising creatives see everything myopically through the lens of their craft, the Dallas Advertising League chose the theme “Obsession Has Its Place” to promote its Addy Awards in 2012. TM Advertising developed nine hilarious scenarios of singularly focused ad men and women dealing with everyday life situations. Jeremy Bartel of Liberal Media Films directed the videos, Jason Burks directed photography, and Charlie Uniform Tango did the post-production. Here are just two of the videos. To see the rest, go here.
Over the year, Rube Goldberg-type devices have popped up in a diverse array of TV commercials, from a promo for the “Elementary” mystery series, an ad for Beneful dog food, and the 2003 classic “Cog” film for Honda Accord. Unlike commercials that demonstrate or tout the product outright, these get their message across in the most tangential way. There is no story line, no spokesperson pointing out product features, not even a lot of voiceover commentary. But the viewer’s attention is riveted to the commercial and the product it is trying to sell.
Just who was this Rube Goldberg? And how did his crazy inventions inspire 21st century advertising creatives to design TV commercials to market their products so circuitously? Let me introduce you. Rube Goldberg (1883-1970) was an engineer-turned-cartoonist whose primary cartoon character was one Professor Lucifer Gorgonzola Butts, an inventor of gadgets that accomplished the simplest tasks in the most complicated, elaborate roundabout way. For those unfamiliar with how Goldberg started a chain reaction of copycat inventors, here’s an example. Goldberg’s cartoon above explains Professor Butts and his Self-Operating Napkin, which was activated when a) the soup spoon was raised to the mouth, pulling a string, b) which jerked a ladle, c) tossing up the cracker inside, d) past a parrot, e) causing the parrot to leap for the cracker, f) thereby, tilting the perch, g) which tipped a bowl of seeds into a pail, h) which, due to its added weight, pulled a cord, i) which ignited a cigarette lighter, j) setting off a rocket, k) which caused a sickle l) to cut a string, and m) freeing a pendulum and causing an attached napkin to swing back and forth, wiping the diner’s mouth.
When Nickelodeon sought to tout its new HD network in Europe, its parent company, MTV International, hired ManvsMachine agency in London to brand the channel. What they got back was a logo identity study that playfully took Nickelodeon’s screaming orange brand color and morphed it from one texture to another, from faux fur to plastic to globule bubbles, all reforming themselves back into the Nickelodeon logotype. It’s fascinating to view.
Chanel let its Le Vernis line of fingernail polish take centerstage with this choreographed dance number by Grammy-nominated director Patrick Daughters and French set designer Aline Bonetto. Sassy fingers strut down a mini-runway to the doo-wop tune of “Little Bitty Pretty One” by Frankie Lymon and The Teenagers and break into chorus-line steps. The set incorporates several of the couture house’s symbols including the double “C” logo, pearl necklaces, and Coco Chanel’s famous mirrored spiral staircase. The closing credit cites the starring roles of the nail polish shades.