One of the most fun projects I’ve had the chance to work on was a mini relaunch of the 90’s flop come cult favorite, Crystal Pepsi. With internet crazies trolling the brand’s social channels for years practically begging Pepsi to bring it back, Pepsi finally decided to produce a small batch and offer it as a sweepstakes through our loyalty app, Pepsi Pass.
The film features a PepsiCo janitor who innocently discovers a 92nd Floor of his building that he didn’t know was there. When the elevator doors open, it’s crimped hair, slap bracelets and floppy disks galore. We were lucky enough to be able to license Tag Team’s classic one-hit wonder “Whoomp, there it is.” A good time was had by all.
The piece received some great press including: Ad Forum’s best ad of the week, One of Fast Co’s top five ads of the week, Creativity pick of the day and it received over 2 million views on YouTube and counting.
As longtime customers curb their soda intake, Pepsi needed to attract the next generation of cola drinkers. The target? Millennials, a fickle, fun-hungry group notoriously immune to traditional marketing.
Enter Pepsi Pass, an experience-based app for iOS and Android, that rewards you for not only drinking Pepsi, but also having fun with your friends—all of which you can then cash in for even more fun experiences. And it’s super easy. Just install the app and hang out with your friends like your normally do, and earn points that give you access to awesome events that only Pepsi can provide, like concerts, sports games, festivals and more.
My role was to oversee all product updates and new ways for users to stay engaged such as the launch of “Friendies,” a play on selfies, which enables one to take photos with friends earning more points the more people one could squeeze into the shot.
Within 6 months of launch, Pepsi Pass has over 1MM downloads and five stars in app store.
Winner of the Cannes Cyber Grand Prix 2013
In honor of the brand's 100th Birthday we created print ads that took a nostalgic look back. There was so much fanfare around them that the brand team challenged us to take the power of the idea and make it even more social. That's where Daily Twist was born. We committed to pushing out 100 pieces of content in 100 days. I led the team came up with the idea, assembled the newsroom infrastructure with the clients and their legal team and executed an idea every single day. The brand added million Facebook fans in the 100 days of this program.
The program kicked off on June 25th with what has come to be known virally as the Gay Cookie. The conversation was picked up by virtually every news medium including The Huffington Post, Gawker, Ellen DeGeneres (unpaid), Fast Company, BuzzFeed, Jimmy Kimmel, the Today Show, Bill Maher, etc. It was given three minute of air time on The Colbert Report (unpaid) along with all of the trade pubs including Creativity Magazine's Pick of the Day. It was written about in the Harvard Business review. It was spoofed all over the internet. Petitions were drawn to create the cookie for real. Memes were created and countless videos were created by the masses and uploaded to YouTube. And that was just Day 1.
Having not even lost all of my Oreo weight yet, I was asked by Nestle Toll House, the nation's leading baking brand, for a social playbook that would blow the dust off of the brand in the social space with an effort toward engaging more Millennials. So we thought, instead of writing our social updates, why don't we bake them?
Bakerisms are short, fun, bite-sized mantras that telegraph the brand's philosophy about baking. Because of these posts, Facebook changed it's 20% text rule. After a lengthy challenge, they acquiesced saying that in this case the "text" was in service of art, thereby, enabling us to sponsor these posts.
LG brought good news to Times Square through an interactive billboard that allowed me to flex my muscles in technology, character design and improv comedy.
We created a character, named Gil (Life is Good spelled backwards) who lived on the board and fed on good news. Good news came through an RSS feed, SMS capability and via Twitter. Gil also worked in "Puppetmaster" mode, meaning that my partners and I would go up into the meat locker where the board was controlled and communicate with people on the street in real time.
To honor the 100th birthday of an iconic little cookie, we looked at iconic moments of the last 100 years and gave them an Oreo twist.
My partner and I led the pitch that won the SeaWorld business. We then got to spend more than our fair share of time bonding with dolphins and sea otters. The account had both brand and retail components.
We had the help of a phenomenal team of freelancers, Ashton Rose (CW) and Michael Bae (AD), who you can check out here: http://baeandrose.com
We took a very simple approach in launching the world’s largest capacity washer. TV was shot by Ne-O where we combined an in camera approach with CGI to show Guinness Book-sized garments hanging in unexpected places. Print was shot by Nick Meek and we partnered with VML to create the website which won web pick of the day by Communication Arts. A washer that promises fewer loads of laundry? This thing practically sells itself.
Copy: Amber Casey
Art Director: Dan Hubert
A revered little niche brand, Burt’s was making its debut in CVS and Walgreens. They wanted to go mass without pissing off their cult fans. We used a quirky offbeat voice to educate people on the benefits of natural ingredients. I spearheaded everything from a print campaign that was recognized by Archive and in the trades, a complete website overhaul and some PR ideas which included having the CEO eat his products to prove their made from the earth. We also created Burt’s Bill, a petition for Congress that would require the FDA to regulate the word “natural.” Many brands that use that word are far from it.
Since part of the Burt’s Bees strategy was to communicate that the products are made with truly natural ingredients, we asked the Burt’s Bees CEO, John Replogle, to quite literally put his money where his mouth was. We served him a delicious lunch made exclusively of Burt’s Bees shampoo, face cream, and body lotion. And he survived to talk to the press about it.
There are currently no guidelines or labeling standards for using the term “natural,” so products that have as little as 1 percent natural ingredients can claim to be ‘natural.” My idea? To allow the consumers’ voices to be heard. The Burt’s Bill would be a way to petition Capital Hill and the Natural Products Association to give meaning back to the world ‘natural.’
We were given three weeks to launch the web site that would synch with the brand’s new messaging. I personally wrote copy for each of their 120 products. We also told the history of the company through a flash “book” that a photo real bee took you through. Since the brand had such ardent fans, the site provided the perfect spot for brand advocates to meet, share stories and alternative uses for the products. Pardon the cliché, but we called that area “The Hive.”
Two spots shot by Dante Ariola for a new LG TV. Unfortunately I had to miss the shoot in Thailand. I was so pregnant that I weighed more than the elephant.
Sharpie charged us with coming up with an effort for their sponsorship of the Revlon Run/Walk that was consistent with their brand DNA. Since Sharpie has a heritage of celebrating self-expression, the idea here was to create a way for women to share bold and personal statements to inspire the women who are participating in the event.
Copy: Brett Howlett
Art Director: Paul Kamzelas
On the microsite, people could create a poster with an inspiring thought. It also featured a special edition Sharpie with proceeds going to breast cancer research. The best posters are selected and hung along the entire 5K Run/Walk.
The business challenge was to create more usage occasions for printed labels. Due to a client relationship and a very low budget, we produced these under lockdown at a compound in Holland. We got to bring in a director (We chose David Popescu) but everybody else from editorial to music to transfer was assigned to us. This project was so low budget that a sign above the fruit bowl at Craft Services read, “One per person, please.” How it became a Cannes finalist, I’ll never know.
This was a once in a lifetime opportunity to sell naming rights to the new Atlantic Yards stadium in Brooklyn. Our idea was to offer our target audience that consisted of 15 CEO’s a once in a lifetime chance to “own a landmark.” We had the rare opportunity to interview Frank Gehry on his original vision for the project. We created an invitation to a cocktail party come sales pitch, shot a brand film, and we even crafted a coffee table book about Brooklyn highlighting the storied history and recent Renaissance. We also designed a Sales Center on the 44th floor of the New York Times Center to sell 170 VIP Suites. It was a true immersive brand experience. I’m proud to say the arena is now called the Barlclay’s Center.
The charge was to blow the dust off of the Jaguar brand with the X-TYPE. The $35,000 4-wheel drive Jaguar. We created what we called a "visual love poem" put to an iconic piece of music. The brand idea "For the new Jag Generation" received a ton of great press along with an AICP award, London International, D&AD Book among others. This spot is admittedly very old but it represents one of the highlights of my career and for that reason, I refuse to take it down. This was the first of several car models that launched while running Jaguar North America for Y&R.
ACD (Writer): Jill Applebaum ACD (Art Director): Marwan Khuri Group Creative Director: Ross Sutherland Exec Producer: Ken Yagoda Producer: Jeremy Fox Director: Jeff Darling