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  • The Champagne Bureau Wants You To Know Champagne Is From France

    The Champagne Bureau Wants You To Know Champagne Is From France

    We all know where our favorite bottle of the bubbly comes from right? Champagne, France of course, and for those of you who didn't know that, the Champagne Bureau in the USA hopes to reclaim it's name and remind consumers of it's true and only origins with a new ad campaign. The first print ad “Maine lobster from Kansas” is a gentle reminder and to the point, created by ad agency Creature.

    Full press release below, visit www.champagne.us for more.

    Champagne Only Comes From Champagne, Reaffirms New Ad Campaign

    Campaign Highlights Importance of Knowing Products’ True Geographic Origins
    WASHINGTON – The Champagne Bureau, USA, representing the growers and houses of Champagne, today launched a new national advertising campaign as part of a large-scale effort to reclaim its name in the U.S. marketplace. Champagne, the sparkling wine of legends, can only come from the unique region of Champagne, France, where centuries of experience with specific soils and climate have enabled the people to develop a tradition and expertise that makes all the difference. The ad campaign is designed to remind consumers of the unique role location plays in creating their wines and to tap into growing American consumer interest in geographic origin. Posing questions like “Maine Lobster from Kansas?” the ad reminds consumers of the importance of authenticity and of knowing products’ true origins.

    The ad, which will appear in print, outdoor and digital formats and can be seen at www.champagne.us,
    highlights the gap between American consumers’ growing desire to know the true origins of their purchases
    and persistent legal loopholes that create confusion about where certain products actually originate. The
    campaign reminds consumers that Champagne only comes from Champagne, France, just as Napa Valley wines come from Napa Valley and Maine Lobster from Maine.

    “More than ever before, U.S. consumers are seeking information about how and where their wine and other
    goods are produced,” said Sam Heitner, director of the Champagne Bureau, USA. “This campaign uses humor and well understood U.S. location based products to encourage consumers to take a moment and consider the authenticity of what they are buying. U.S. consumers are savvy and this reminds them to say ’of course not‘ when faced with products that lack authenticity and to seek out products that come from unique places like Champagne from Champagne, France, Maine lobsters from Maine and Napa Valley wines from Napa Valley, California.”

    The ad highlights a legal loophole in federal law that allows a few U.S. sparkling wine producers to mislead
    consumers by labeling their products “Champagne” even though they do not originate from Champagne,
    France. In December 2006, Congress passed legislation banning the future misuse of 16 wine place names, including Champagne. While that seemed a step in the right direction, the legislation did not address the
    grandfathering of labels currently misusing Champagne’s name and those of 15 other wine regions.

    Unfortunately, almost half of the bottles in stores and restaurants still misuse the Champagne name, which
    makes the grandfathering particularly problematic for consumers who want authentic Champagne.
    The United States is one of the last industrialized countries in the world to fail to adequately protect the
    Champagne name. In fact, the majority of the world’s countries, including the European Union, China, and a
    growing number of other wine-producing countries from Australia to Chile reserve the Champagne name for
    sparkling wines from Champagne, France. A bottle with the term “California Champagne” or “American
    Champagne” cannot be sold in Mexico and, come Jan 1, 2014, will not be able to be sold in Canada. In this
    area, the United States is out of step with the majority of truth-in-labeling laws.

    The campaign uses light-hearted examples such as “Maine lobster from Kansas,” but the practice of
    misappropriating the names of other places is a trend that faces many regions, and it has the potential of
    misleading the consumer. “Truth-in-labeling is a very important issue for U.S. consumers and for the Maine Lobster community,” said Marianne LaCroix, acting executive director at the Maine Lobster Council. “We continue to see restaurants and retailers advertising Maine lobster, yet serving lobsters that are from other places. We are proud to stand with Champagne to remind U.S. consumers to know where their products come from and not stand for those who mislead.”

    “Napa Valley wines come from Napa Valley and Champagne comes from Champagne, France. These are
    important facts that consumers need to be able to believe in when they see these names on wine labels,” said
    Linda Reiff, executive director of the Napa Valley Vintners. “Unfortunately we all have to fight to protect our
    names as some seek to profit off them by deceiving consumers. We are honored to be a part of Champagne's advertising campaign and hope it encourages consumers to demand more truthful and accurate wine labeling.”

    The ads will appear in a wide range of print and digital formats including placements in The New Yorker, Food & Wine, and Travel + Leisure as well as on billboards in New York, San Francisco, Los Angeles and Washington, DC and online on a wide variety of sites including New York Times.com, Vanity Fair, GQ and the Wall Street Journal.

  • McDonald's France Goat Cheese Burger and a Friday The 13th Killer Ad

    McDonald's France Goat Cheese Burger and a Friday The 13th Killer Ad

    McDonald's France has begun airing two new commercials, above is the ad entitled "Killer" and below the "Prison" spot. In Killer, the bad guy who all too closely resembles Jason from Friday The 13th is the victim this time as two young ladies chase him down through a forest for his bag of McDonald's food...not just any food either, in France the chessy goodness burgers are topped with goat cheese and raclette.

    Credits:
    Agency: TBWA, Paris
    CD: Jean-Francois Goize
    AD: Alexandre Mba-Nze
    Copywriter: Mehdi Hamzaoui
    TV Producer: Amer Zoghbi
    Agency Producer: Smile Unlimited
    Director: Greg Gray
    Sound: Else
    Sound Director: Fabrice Pouvreau

  • The Springtime of the Renaissance. Sculpture and the Arts in Florence 1400-60 at the Palazzo Strozzi

    The Springtime of the Renaissance. Sculpture and the Arts in Florence 1400-60 at the Palazzo Strozzi

    Palazzo Strozzi is presenting The Springtime of the Renaissance. Sculpture and the Arts in Florence, 1400-1460, an exhibition which sets out to illustrate the origin of what is still known today as the “miracle” of the Renaissance in Florence predominantly through masterpieces of sculpture, the form of figurative art in which it was first embodied. Following its debut in Florence, where it is on view from 23 March to 18 August 2013, the exhibition will be shown at the Musée du Louvre in Paris from 26 September 2013 to 6 January 2014.


    The lengthy preparation that has gone into the staging of the exhibition, which is curated by Beatrice Paolozzi Strozzi, director of the Museo Nazionale del Bargello, and Marc Bormand, curator-in-chief of the Département des Sculptures in the Louvre, has been accompanied by an extensive restoration campaign in both Italy and France with joint funding from the Fondazione Palazzo Strozzi and the Louvre. Visitors to the exhibition are able to admire many Renaissance masterpieces, including works by Ghiberti, Donatello, Dello Delli, Filippo Lippi, Nanni di Bartolo, Agostino di Duccio, Michelozzo, Francesco di Valdambrino and Mino da Fiesole, in their newly-conserved splendour.

    One of the most significant projects undertaken for this exhibition is the conservation of Donatello’s imposing bronze statue depicting St Louis of Toulouse, 1425, from the Museo dell’Opera di Santa Croce where it has been throughout the restoration in a workshop especially set up in the museum and open to the public. The conservation was entrusted to Ludovica Nicolai, who was responsible for restoring Donatello’s David in the Bargello, with the assistance of the Opificio delle Pietre Dure’s scientific laboratory. The procedure was directed by Brunella Teodori, Soprintendenza Speciale PSAE e per il Polo Museale della città di Firenze.

    The exhibition will be presented in ten theme-based sections.

    Section I: The Legacy of the Fathers

    The exhibition opens with an intriguing overview of the rediscovery of the classical world with some splendid examples of the 13th and 14th century works by Nicola and Giovanni Pisano, Arnolfo, Giotto, Tino di Camaino and their successors, who also assimilated the expressive richness of the Gothic style, in particular from France.

    Section II: Florence 1401. The Dawn of the Renaissance

    The ‘new era’ coincided with the start of the new century and is represented in the exhibition by two panels depicting the Sacrifice of Isaac by Lorenzo Ghiberti and Filippo Brunelleschi from the Baptistry doors, and Brunelleschi’s model for the cathedral dome. At that time, the writings of the great Humanists, singing the praises of the Florentine Republic’s political achievements, its economic power and its social harmony, were spreading the legend of Florence as heir to the Roman Republic and as a model for other Italian city-states.

    Section III: Civic and Christian Romanitas

    Monumental public sculpture, through the masterpieces of Donatello, Ghiberti, Nanni di Banco and Michelozzo, created for the city’s major construction sites – the Cathedral, the Bell Tower, Orsanmichele – is the first and loftiest expression of the transformation under way and of the triumph of Florence and its civilisation.

    Section IV: “Spirits” Both Sacred and Profane; Section V: The Rebirth of the Condottieri

    The exhibition also sets out to illustrate the other themes of classical antiquity that were assimilated and transformed through sculpture in this new Renaissance language, which lent its voice not only to the city’s creative fervour but also to its spiritual and intellectual mood.

    Section VI: Sculpture in Paint

    Sculpture, and more especially statuary, was thus to have a tremendous impact on the painting of the leading artists of the time, men such as Masaccio, Paolo Uccello, Andrea del Castagno, Filippo Lippi and Piero della Francesca.

    Section VII: History “in Perspective”

    The search for a “rational” space and Brunelleschi’s discovery of perspective were implemented in the most advanced forms in the art of sculpture, in Donatello’s bas-reliefs – for instance in the predella of his St George from the Bargello or in his Herod’s Banquet from the Musée des Beaux-Arts in Lille. This echoed well into the middle part of the century in the work of Desiderio da Settignano and Agostino di Duccio in an ongoing dialogue/debate with painting, including that of the classical era.

    Section VIII: The Spread of Beauty

    From the 1420s onwards, the new standards of sculpture perfected by the great masters and illustrated in the exhibition by several masterpieces such as Donatello’s Pazzi Madonna from Bode Museum in Berlin, the Kress Madonna from the National Gallery in Washington, and the Madonna from the Diocesan Museum of Fiesole attributed to Brunelleschi, spread out via a seemingly endless output of bas-reliefs for private devotion (in marble, stucco, polychrome terracotta and glazed or “Della Robbia” terracotta), which fostered the widespread propagation of a taste for the ‘new’ beauty in every level of society.

    Section IX: Beauty and Charity. Hospital, Orphanages and Confraternities

    At the same time, the most prestigious artistic commissions in Florence, which were almost always from public entities, began to focus on venues of solidarity and of prayer (churches, confraternities and hospitals), where sculpture once again played a primary role.

    Section X: From City to Palace. The New Patrons of the Arts

    Thus, arranged around the city’s absolute symbol – the wooden model of Brunelleschi’s Cupola for Santa Maria del Fiore – the exhibition offers a retrospective of themes and types of sculpture that were also to have a crucial impact on the development of the other figurative arts, in a direct debate with their classical predecessors, from the tombs of the Humanists, to the inspiration provided by ancient sarcophagi, to the rebirth of the equestrian monument and the carved portrait. The carved portrait, which became popular towards the middle of the century – in the marble busts of Mino da Fiesole, Desiderio da Settignano, Antonio Rossellino and Verrocchio – heralds the transition from the fiorentina libertas, represented by public patrons, to the private patronage that already bore the mark of the Medici family’s impending hegemony. This transition is effectively captured in the culmination at the end of the exhibition with the Wooden Model of Palazzo Strozzi, the most illustrious private residence of the Renaissance.

    Source: Palazzo Strozzi [March, 2013]

  • Great New McDonalds Ad "The LumberJack vs. The Farmer"

    Here's a great new commercial for McDonald's (France)all set to classic song "Eye Of The Tiger", a lumberjack and farmer show us their brute strength just as they earn themselves a McTimber and a McFarmer.

    Credits:
    Client: McDonalds, France
    Ad Agency: TBWA Paris
    Director: Trevor Cornish
    DP: David Lanzenberg
    CD: Jean Francois Goize
    CW: Jean Marie Gateau
    Producer: Virginie Chalard

    Production Company: Spyfilms / Smile Unlimited
    Executive Producer: Luc Frappier (Spy) / Jean Jaques Grimblat (Smile Unlimited)
    Producer: Mark Fetterman / Marie Bordaz (Smile Unlimited)

  • Monoprix — The Battle of Water

    Monoprix — The Battle of Water

    Enjoy a moment that makes splash boom, ouaaa in the latest commercial for Monoprix Supermarkets. Monoprix is a supermarket brand that aims to enrich, through its products and services, the daily lives of its customers. This spot was created to launch a new brand signature: "Vivement Aujourd'hui" (Can't wait for today) An uplifting reminder that every day need not be so everyday.

    Credits:
    Advertising Agency: Rosapark, Paris, France
    Advertiser brand: Monoprix (France)
    Advert title(s): La bataille d'eau ("Water fight")
    Founders: Jean-Patrick Chiquiar, Gilles Fichteberg, Jean-François Sacco
    FILM:
    Creative Directors: Mark Forgan & Jamie Edward Standen
    Production: QUAD
    Director: Johnny Hardstaff
    Producers: Amanda Stubb & François Brun
    Post producer: Digital District, Cédric Herbet & Christelle Prud'homme
    Sound: Schmooze/Matthieu Sibony
    Music: "Bambina" by HOTEI/EMI

  • 'Icons: Refugees Heirlooms' at the Musee d’histoire de Nantes

    'Icons: Refugees Heirlooms' at the Musee d’histoire de Nantes

    The exhibition which opened on July 2 at the Musee d’histoire de Nantes, was organized in partnership with the Byzantine and Christian Museum in Athens, and offers a chance to discover the exceptional objects from the Refugee Treasures exhibition presented in 2009 in Athens, and a selection of items conserved in France that will be presented for the first time.

    'Icons: Refugees Heirlooms' at the Musee d’histoire de Nantes
    Refugees in the streets of Athens, photographed by the American Red Cross, in 1923 [Credit: ©Library of Congress]
    On July 24th 1923, the Treaty of Lausanne was signed, ending the war between Greece and Turkey that began in 1919. It is considered to be the last peace treaty of WWI and has been judged by some to be the only guarantee of lasting peace between Greece and Turkey. For others, it was a violation of Human Rights.

    The treaty imposed the exchange of civil populations and defined the terms of forced migration on both sides of the Aegean Sea. 1.3 million Greeks and 400,000 Muslims were forced to leave their homes, leaving their belongings behind.

    'Icons: Refugees Heirlooms' at the Musee d’histoire de Nantes
    Icon of Saint Catherine. Late 17th century [Credit: Byzantine and Christian Museum, Athens]
    At the moment of their exile, many of the Greek men and women of Asia Minor left with their religious icons, or those from their churches. These precious, sacred, or protective objects established a link between an old and a new country, between an old and a new life.

    Today, some icons in France act as a testament of a migration extending far beyond Greece’s borders.

    'Icons: Refugees Heirlooms' at the Musee d’histoire de Nantes
    Silver revetment of icon depicting St. George killing the Dragon. From a Smyrna workshop, 1878 [Credit: Byzantine and Christian Museum, Athen]
    Each one tells a story.

    Exhibition curator: Kiriaki Tsesmeloglou, member of the Icon Network association, restorer and conservator of painted works.

    The exhibition will run through November 13, 2016.

    Source: Musee d’histoire de Nantes [July 08, 2016]

  • VW Volkswagen "Princess — Seize The Moment" TV Spot

    VW Volkswagen "Princess — Seize The Moment" TV Spot

    In this new commercial for the Volkswagen Polo entitled The Princess, the bride to be seems to have a wardrobe malfunction and stumbles away, giving the opportunity for another woman to step in and face the crowd of screaming fans with her Prince. Now this is my kind of wedding.
    Credits:
    Title: Princess
    Brand: Volkswagen
    Advertiser: Volkswagen
    Ad Agency: agence.V., Paris France
    Country: France

  • The Same Pleasure Since 1715

    The Same Pleasure Since 1715
    Private Party
    Advertising Agency: TBWA/MAP, France
    Creative Director: Sébastien Vacherot, Manoëlle Van der Vaeren
    Art Director: Nicolas Boyer
    Copywriter: Marc Platet
    Photographer: Mark Seliger
    Art Buyer: Vanessa Barbel
  • The Debate Between Paper or Digital Is Finally Settled In This Brilliant Toilet Paper Ad

    The Debate Between Paper or Digital Is Finally Settled In This Brilliant Toilet Paper Ad

    Leo Burnett's TV ad for the French toilet-paper Le Trefle entitled "Emma" is a happy families ongoing battle between going digital or staying true to paper. Our hero husband determined to convert his wife and daughter to a paperless world in various ways, but sadly in the end our true hero, the patient Emma reminds him that no matter what there is at the very least one thing we will always need paper for. The tagline translates in English to "Paper has a big future", get it? Big...man...sitting on the toilet...ah forget it. Speaking of big things "Midtrafik — The Bus" is still one greatest ads ever created, see the epic-a-licious spot HERE.

    Credits:
    Client: Le Trèfle
    Agency: Leo Burnett France
    Director: Bart Timmer
    Executive Creative Director: Xavier Beauregard
    Creative Director: Xavier Beauregard
    Art Director: Jérôme Gonfond
    Copywriter: Hadi Hassan-Helou
    Agency Producer: Elisabeth Boitte

  • Heineken — The Kick Advert

    Heineken — The Kick Advert

    Heineken's new Heineken Cup ad set in the South of France is one awesome football kick.

    Credits:
    Ad Agency: Rothco, Dublin, Ireland
    Creative Director: Alan Kelly
    Art Director: Stephen Rogers
    Account Director: Grace Looney

  • The Fake Tampax Shark Attack Ad Is Awesome

    The Fake Tampax Shark Attack Ad Is Awesome

    Despite this turning out to be a fake ad for Tampax that came out of Russia that was made to promote the film "Movie 43." Sharks and Tampax ads don't seem to be anything new either, this Leo Burnett created print came to us from France in 2004.

  • This Alligator Does Not Need A Body Double For It's Nude Scenes

    This Alligator Does Not Need A Body Double For It's Nude Scenes

    In a world where Photoshop and CGI catches our eyes' attention, this ad "Alligator" for National Geographic Wild Channel was created in order to demonstrate that nature doesn't need any special effect to be breath taking. The captured moments were chosen because they were quite unexpected, original but yet beautiful.

    Credits:
    Creative Ad Agency: DDB, Paris, France
    Executive Creative Director: Alexandre Hervé
    Copywriter: Fabien Teichner
    Artistic Director: Alexandre Lagoet
    Planners: Sébastien Genty, Romain Roux
    Head of post-production: Sylvie Dumas
    Realisation: Lawrence Wahba, Haroldo Palo Jr., Bob Poole, Jerry Butterfield
    Sound: THE

  • What If Da Vinci, Van Gogh and Degas Had ShutterStock?

    What If Da Vinci, Van Gogh and Degas Had ShutterStock?

    What if Leonardo Da Vinci, Vincent Van Gogh and Edgard Degas would have known about shutterstock. Their masterpieces would just might have looked different. A new print ad campaign for the European market with a strong visual impact promoting the richness and variety of the Shutterstock image library.

    Tagline: "From Scratch To Masterpiece. Shutterstock"

    Credits:
    Ad Agency: plan.net
    Country: France
    Client: Shutterstock
    Creative Director: Peter De Meurichy
    Art Director: Evelyne Erviti
    Copywriter: Nicolas RICHARD

  • "Hugs"

    You'll never guess what this new commercial created by Fred&Farid is for...

    Diabolo reinvents the roller braking and avoids making 'hugs' to a tree, a window, a dustbin, a fence and more in this brilliant new spot.

    Original music in the commercial is by Hush, song title: "It's Your Turn"

    Credits:
    Advertising Agency: Fred&Farid, Paris, France
    Creative Directors: Fred & Farid
    Copywriters / Art directors: Laurent Toth, Marc Badinand
    Brand’s supervisor: Baptiste Ribeton
    Agency’s supervisors: Bérengère Mangin, Alice Lombard
    Tv producer: Koniba Pleah
    Art buying: Adélaïde Samani
    Agency’s post-production: Koniba Pleah
    Director: Nan
    Production company: Soixante Quinze
    Producer: Jules Dieng
    Music studio: Chut on vous écoute
    Post-production studio: Soixante Quinze

  • Durex Digital Love Website Ad

    Durex Digital Love Website Ad

    Durex condoms creates a digital love website experience with this great new interactive ad. I know, we're smarter than that but it's still a pretty cool idea, check it out here at The Durex Digital Love Experience

    Credits:
    Advertising Agency: Buzzman, Paris, France
    Creative Director: Georges Mohammed‐Chérif
    Art Director: Louis Audar
    Copywriter: Tristan Daltroff
    Account Managers: Thomas Granger, Caroline Vicariot
    Tv Producers / Art Buyers: Vanessa Barbel, Angel Diop
    Digital Producers: Laurent Marcus, Julie Bourges
    Community Manager / Pr: Nicolas Mirguet, Wale Gbadamosi Oyekanmi, Ugo Orlando, Fannie Outrey
    Social Media Coordination: 90:10 Group
    Film Production: Frenzy
    Director: Aoife Mccardle
    Digital Production: Les 84
    Published: October 2011

  • McDonald's Red Chili Chicken Commercial — Open Work Space is a Bad Idea

    McDonald's Red Chili Chicken Commercial — Open Work Space is a Bad Idea

    Credits:
    Advertising Agency: TBWA, Paris, France
    Creative Director: Jean-François Goize
    Copywriter / Art Director: Jean-Marie Gateau
    TV producer: Virginie Chalard
    Sound: Fabrice Pouvreau
    Director: Jérôme Langlade
    Production: QUAD
    Account Management: David Leclabart, Matthéo Pressmar, Bertrand Régnier Vigouroux

  • The Barcode — Happy 40th

    The Barcode — Happy 40th

    April 3, 2013 marked the 40th aniiversary of the bar code. The first product ever scanned using a UPC back in 1974 was a 10-pack of Wrigley's Juicy Fruit Gum at the Marsh Supermarket in Troy, Ohio. In honor of the 40th we thought it might be fun to compose a list of some creative bar codes in advertising.

    For the UK's TigerTrust preservation charity a tigers stripes are made to look like a bar code. Created by ad agency Leo Burnett, Copywriter, Nick Bell and Art Director Mark Tutssel. I believe from back in 1998.

    In France a Renault burns out a few barcodes in this print ad from Publicis Conseil, copywriter Serge Ficard and art direction by Pascal Midavaine.

    Coca-Cola has a history of cute bottled shaped bar codes, this one from ad agency Chaitra Leo Burnett, India.

    Soul Tattoo & Piercing in Brazil ran this IRA Communication created tramp stamp print campaign back in 2008.

    The Belgian Federation of Food Banks asked us to donate a barcode and feed the hungry.

    Some where in Russia.

    For those of us old enough to remember Mad Magazine, they weren't too pleased back in '78 so they ran this cover hoping to jam every computer in the country...Sorry Mad Mag, you're plan didn't work.

  • Don't spend your evenings on your own!

    Don't spend your evenings on your own!

    Love

    Advertising Agency: Euro RSCG 360, Paris, France
    Creative Director: Hugues Pinguet
    Copywriters: Dimitri Hekimian, Peter Moyse
    Art Director: Thomas Derouault
    Art buyer: Isabelle Baud
    Retouching: Christophe Huet-Asile
  • Luck Is An Attitude — Martini

    Luck Is An Attitude — Martini

    Martini launches a new commercial starring Kisser Casting, winner of the Luck Is An Attitude campaign Yuri Buzzi. The song is "Oh Johnny, Oh Johnny Oh" by The Andrew Sisters.
    Credits:
    Advertising Agency: Fred&Farid Paris, France
    Copywriters / Art Directors: Fred & Farid
    Agency supervisor: Rasjida Bouharrak
    Agency TV producer: Kate Taylor
    Film Director: Peter Thwaites
    Production company: Gorgeous, London
    Music / Artist: "Oh Johnny, Oh Johnny Oh" / The Andrew Sisters
    Music production: Sizzer, Amsterdam

  • Kellogg's Special K — "The Box"

    Kellogg's Special K — "The Box"

    Kellogg’s Special K is launching a new advertising campaign to mark its first recipe change in over 30 years. Created by Leo Burnett, the stop-frame animation showcases the iconic Special K box transforming into beautiful origami shapes. ‘The Box’ campaign will break in the UK on June 3rd and then roll out across European markets, including Spain, Italy and France. It includes 20” and 30” TV adverts and press, radio, VOD and digital.
    The new campaign will show the Special K box created out of origami, folding and unfolding to create elegant butterflies, birds and the famous Special K girl.
    The origami is a metaphor for the transformation of Special K, and a nod to the brand’s evolution. Special K has added an extra grain to all of its cereals and evolved from a two to a three-grain recipe, with all of its products now including wholegrain. Media for the campaign is handled by Carat.

    Credits:
    Advertising Agency: Leo Burnett
    Creative Director: Karen Reed and Natasha Ali
    Executive Creative Director: Mylene Pollock
    Copywriter: Liam Bushby and Alison Stevens
    Art director: Liam Bushby and Alison Stevens
    Account team: Carly Pritchard, Dominique Gomes, Sofia Sarkar
    Project Manager: Gaynor Goldring
    Planner (creative agency): Olivia Heywood and Charlie Kirkbride
    Agency Producer: Serena Schellenberg
    Production Company: Hornet
    Director: Peter Sluszka
    Photographer: Dan Tobin Smith
    Prod co Producer: Zack Korteight
    Music & Sound Design: Regina Spektor
    Post Production: Hornet inc.
    Making of: Copper pot pictures