J&B Commissioned A Tattoo Artist To Ink 25 Limited Edition Bottles of Scotch.

The idea to tattoo the bottles was devised by French design studio Button Button as an unusual way to commemorate J&B's heritage.





J&B Rare scotch blend whisky was born in London second part of XIXth century from famous wine and spirits merchant Justerini & Brooks willing to create its own house whisky. It is exactly at the same period that tattoo started to spread through London, after the trend coming from Royal Navy sailors used to come back from distant travels sporting tattoo, finally reached British upper class when Prince Bertie (later Edward VII) was first tattooed in 1862 before to spread over all Great Britain and Europe.

Button Button says "As a celebration of this origin we decided to tattoo 25 bottles for real. First thing, we fully covered bottles with a latex skin, like the one used to practice tattoo, slim enough to respect bottle shape and strong enough to be hit many times my tattooer's needles… We decided to color skins with a human skin color to strengthen the tattoo perception and create something intriguing…

Then we asked Sébastien Mathieu, owner of Le Sphinx a private tattoo room in Paris, to support us in this adventure.

Excited by the challenge he immediately accepted… with only a partial idea of how complex it would be… Actually he spent around 20 hours to tattoo each bottle.

Each of the 25 bottle is tattooed from a single design but intrinsically, each bottle is unique."

The 25 bottles, presented in a rough black silkscreened wooden box, were for sale this past winter in Paris at Publicis Drugstore and at L'éclaireur rue Herold. They sold out within a week.



images, info and video all courtesy of Button Button on Behance

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Milton Glaser Designs Season 7 Poster For Mad Men - a Q&A With The Designer.

At 84 legendary graphic designer Milton Glaser is still creating and was enlisted to design the promotional ads for the upcoming season of AMC's Mad Men. As the advertising drama moves into the late 60's, the show's creator, Matthew Weiner and the Mad Men promotional team began thinking about the appropriate advertising aesthetic as the show approached its final two years.


above: the final promotional image will appear in ads for AMC's season 7 of Mad Men.

According to the New York Times "...someone took one of Mr. Glaser’s best-known images, a 1966 Bob Dylan poster inspired by a Duchamp silhouette self-portrait, and cut out the psychedelic flowing hair with which Mr. Glaser had crowned Mr. Dylan. The hair was then pasted upside down, like a Technicolor eruption, and sent to Mr. Glaser as an inspiration."


above: The graphic designer Milton Glaser, left, in his Manhattan office with Matthew Weiner, the creator of “Mad Men,” for which Mr. Glaser has designed ads that will start appearing next week. Fred R. Conrad/The New York Times

“There is a dreamlike quality to it, and believe it or not, it is related to the show, and not because it’s psychedelic,” said Mr. Weiner, dressed appropriately for the period, with a buttoned-up suit vest but also a bright pink patterned tie. “That’s not what it’s about. What it’s about is the material and the immaterial world, and that’s what I loved.”


above: Milton Glaser's 1966 Bob Dylan poster

Weiner, who rarely discloses details abut the show, added, “It maintains the idea that this is somehow going on in Don Draper’s mind, which is what the story is always about — and what the back of his head is about, on some level.”

AMC interviewed Mr. Glaser about creating the poster. Here is a reprint of that exclusive interview:

Q: You’re responsible for so many iconic images — the I Love New York logo, Bob Dylan’s Greatest Hits album poster, the DC Comics logo. Is there a piece of work you’re most fond of?

A: It’s a lot like having a lot of children — it’s very hard to pick the one that I love the most. But when I’m finished with a job, I’m finished with it. And it just sort of goes into the storage room, and I’m on to the next… Truthfully, I’m more interested in what I’m going to do than what I’ve already done.

Q: Were you a fan of the show before being asked to contribute art?

A: Yes! I watch it all the time. It was an environment that I grew up in. I had a lot of friends in the advertising business, and it was a growth of a particular moment in the advertising world… I used to work for ad agencies frequently — a lot more then than I do now. So I knew the world. And Mad Men is a really wonderful re-evocation of that time.

Q: Tell us about your process. Was it any different for this project?

A: I liked the show, and I like the intelligence of the people who were approaching me. And I thought, let’s give it a try. And the boundaries seemed well-established, which is to say that they wanted something suggestive and powerful and certainly vigorous in color. And it had to be very assertive. It also had a technical problem of reintegrating the figure [of Don Draper] that has become symbolic of the program and making it look as though it worked together with a totally separate piece of art, which that’s not so easy. The two things have to be harmonious and convincing as a single experience.

Q: The idea was originally to do an abstract. How did the figure of the woman that Don Draper is facing come back into play?

A: In the process of doing it, it just felt more convincing and more interesting to have some figurative element, notably the head of a woman and the wine being poured. So we moved away from the idea of having a sort of wallpaper extraction that would sort of symbolize the moment towards having a bit of narration where the characters in the image are related to a story that as going on.

Q: What was it like trying to re-evoke your style from that era?

A: Sometimes the problem you have is that you can’t do what you once did, especially at my age. But the real issue is the definition of the problem itself: This was supposed to evoke a feeling of what that moment in time felt like for people who actually experienced it, right? But most of the people who watch the show didn’t live through that era, so it’s a funny idea of simulating for people of what they don’t have any memory of and convincing them in a way that this is what it was like… It’s a complex philosophical issue.

Q: How important is it to you that a new generation of viewers connect with what the era was about?

A: Everything we know is in the brain and not actually out there. There’s no reality out there. So that era was different for everybody, but, for me… I was being influenced by very strange things like Art Nouveau and other things that seemed significant at the time because they were deviations from modernism. But it was that departure from all the modern work that was going on at the time that made my work characteristic.

Q: What do you remember most about those years?

A: I knew [Bob] Dylan, and I worked a lot for Albert Grossman who was a friend who represented the band and represented Peter, Paul and Mary. I was sort of in the middle of it. I helped Dylan find a house in Woodstock, and to some degree I was part of that in terms of the friendships that I had developed during the period… A lot of people know the Dylan poster, and to large degree because it’s Dylan, but also because it circulated by the millions with that last album of his and became — if you want to use the phrase — iconic of the period.

Mad Men Teaser for Season 7:
Don takes off with the Mad Men Season 7 premiere, Sun. April 13 at 10/9c. images courtesy of AMC and the New York Times.

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Kate Moss (and That Wacky Little VooDoo Doll) For Alexander McQueen by Steven Klein.

With bright yellow hair, lots of cuffs and clutching a doll in her likeness, Kate Moss is the star of the 2014 Spring Summer ad campaign for Alexander McQueen - her first time appearing in ads for the brand. Shot by the fabulous Steven Klein, the images are accompanied by a short film (shown further down in the post), also directed by the photographer.



In the majority of the dark and moody photos, Kate is clutching a 3D printed doll in her own likeness, who is wearing her own miniature versions of the Alexander McQueen fashions and in some of the shots, is stuck with pins.

I have opted to brighten up the following cropped details a lot so you can see them:





The print ads, as running (brightness not altered), in the campaign:








and a close up of those amazing shoes:

and now, brightened up by me so you can actually see them:


The four and a half minute film, directed and shot by Steven Klein, was inspired by the 1960 British thriller Peeping Tom, stars the 40 year old Moss and was shot in East London:


all images courtesy of Alexander McQueen

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Arek advertising, alexander McQueen, branding, fashion, fashion photography, kate moss, marketing, photography, steven klein

Nice New Honda Civic Tourer Spot from Wieden+Kennedy London Highlights The Inner Beauty.

From the Honda Newsroom:
Honda finds the ‘Inner Beauty’ with TV campaign for all-new Civic Tourer

The creative team behind Honda’s recent smash-hit viral film ‘Hands’ is aiming for further success with a new TV advertising campaign to welcome the Civic Tourer into Honda dealerships across the UK.

The campaign celebrates the idea that beauty is about much more than what appears on the surface. The creative plays to the trend in design, engineering and wider society of looks being valued over substance. The viewer is taken on a journey through various objects, including a golf ball, suitcase, chest of drawers and a guitar amp, to reveal the inner beauty of each.



It then goes on to position the new Civic Tourer as another perfect example of ‘Inner Beauty’; dynamic and sporty-looking, yet under the surface there lies practicality and function. That hidden substance includes a huge, class-leading 624 litres of boot space, secret storage compartments, concealed door handles, innovative safety features and Honda’s unique ‘Magic Seats’.



‘Inner Beauty’ comes hot on the heels of the critically acclaimed ‘Hands’ film, which to date has received almost 10 million views and won two awards. Creative agency Wieden+Kennedy London has once again teamed up with directors Smith and Foulkes of Nexus Productions to create the new campaign.



Inner Beauty debuts as a 60-second spot on 3 February; followed by further 60- and 30-second spots on television and video-on-demand.

Olivia Dunn, Head of Marketing for Honda (UK) comments: “Take a first glance at the Civic Tourer and you see a great-looking car. This campaign takes the viewer beyond that first appearance to emphasise the balance between style and performance, and the incredible practicality that the car delivers. Once again the team behind ‘Hands’ has brought the message to life in a fresh, innovative and compelling way in line with Honda’s high standards and unique style.”

As with many Honda commercials of recent years, the creative idea for the new campaign was in part inspired by time spent interviewing Honda engineers. Adrian Killham, Chief Engineer for the new Civic Tourer spoke at length to the team behind ‘Inner Beauty’ about the considerable amount of time spent on the design of both the exterior and interior, and his hope that people would want to look deeper than what’s on the surface to discover what lies beneath.


above: Honda 'Hands', which won several awards, celebrates the curiosity of Honda engineers, which has led to some of the most successful Honda innovations over the past 65 years.

Scott Dungate, Creative Director at Wieden+Kennedy London, adds, “Beauty is more than just the outside. Beauty also lies inside, in how something fits together and works. We wanted to create a film that yes, showed the external beauty of the car, but also celebrated the wonder of the inside and how it works.”

To celebrate this new campaign, Honda (UK) will be running a five-day Twitter competition, launching on 3 February to coincide with the new TV adverts’ premiere. A short hypnotic loop from the ad will be Tweeted daily, each clip featuring a cleverly concealed word that relates to a great prize. Fans will need to find the hidden word and tweet it to @Honda_UK, using the hashtag #CivicTourer for the chance of win. Prizes include a camera, £743 to spend in one of the world’s most famous department stores (reflecting the car’s 74.3mpg performance) and a holiday for two. Follow @Honda_UK on Twitter for further information.



Designed and developed in Europe, the British-built Civic Tourer delivers distinctive styling, class-leading utility, advanced technology and an impressive balance between fuel economy and performance. With the lightest in class and super-frugal 1.6 i-DTEC engine, the first from Honda’s next generation Earth Dreams Technology range, the 1.6 diesel version offers low running costs with a highly competitive 74.3mpg and CO2 emissions from just 99g/km. The new Civic Tourer is the world’s first production car to feature a Rear Adaptive Damper System and features an all-new suite of innovative passive and active safety systems.

The new Civic Tourer is available to order now, arriving in dealerships in February 2014, with OTR prices starting from £20,265 for the 1.8 i-VTEC S model. For further information please visit www.honda.co.uk/civictourer

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Arek advertising, car commercials, cars, honda, marketing, news, tv commercial, weiden and kennedy london

ATMs become GAYTMs for The Sydney Gay and Lesbian Mardi Gras.

In their 8th year supporting the Sydney Gay and Lesbian Mardi Gras, sponsor and partner banking group ANZ celebrated by turning 10 ATMS into GAYTMs and are donating the ATM operator fees for non-ANZ cardholders to non-profit organization Twenty10 for the duration of the campaign.



The GAYTMs even dispense rainbow receipts:



Created by Whybin\TBWA Melbourne, each of the ten GAYTMs is decked out with a different theme and located around Sydney, Bondi Junction, Darlinghurt and Surry Hills.

Hello Sailor:

Location: 81 Oxford St, Darlinghurst

Mo'Town:

Location: 242 Pitt St, Sydney

Pink Ink:

Location: 410 Oxford St, Bondi Junction

Party People:

Location: 205 Castlereagh St, Sydney

Equal Love:

Location: 205 Castlereagh St, Sydney

Drag It Up:

Location: 81 Oxford St, Darlinghurst

Pride:

Location: 242 Pitt St, Sydney

Unicorn Dream:

Location: 388 George St, Sydney

Denim Darling:

Location: 543 Crown St, Surry Hills

Go Wild:

Location: 388 George St, Sydney



The Sydney Gay and Lesbian Mardi Gras is a non-for profit member based organization responsible for putting together the annual Parade and Festival, as well as a number of other events throughout the year. ANZ has been a major sponsor since 2007, with their recently announced three year Principle Partnership taking them to their 10 year anniversary supporting the event.

The press release:
ANZ Bank transforms ATMs into GAYTMs for Sydney Gay and Lesbian Mardi Gras
MELBOURNE, AUSTRALIA – Monday February 24, 2014 – ANZ is proud Principal Partner of the Sydney Gay and Lesbian Mardi Gras 2014. To celebrate, they’ve transformed central Sydney ATMs into dazzling GAYTMs to show their support for diversity and turning the day-to-day activity of withdrawing money into a fabulous experience.


above: GAYTMs in situ

Created by Whybin\TBWA Melbourne, each unique GAYTM has been inspired by gay and lesbian culture. The designs see each ATM being bejewelled by hand in rhinestones, sequins, studs, leather, denim and fur. From unicorns and drag queens to rainbows and tattoos, each GAYTM is a riot of colour and textures to celebrate the festival and show ANZ’s support for diversity.


above: installing the Hello Sailor GAYTM

As well as looking fabulous on the outside, selected ANZ GAYTM screens themselves have been given a makeover to carry messages and well-wishes such as ‘Hello gorgeous’, ‘Cash out and proud’, and of course… ‘Happy Mardi Gras!’.



And to complete the experience, the GAYTMs will dispense rainbow coloured receipts.

Beyond simply joining the party, ANZ is donating the ATM operator fees for non-ANZ cardholders from the GAYTMs to non-profit organisation Twenty10 for the duration of the campaign.



“ANZ’s GAYTMs are a fun and colourful way of bringing our ATMs out to celebrate diversity and show our support for one of Australia’s largest festivals,” said Carolyn Bendall, Head of Australia Marketing ANZ.

She added, “ANZ has been a major sponsor and participant of the Sydney Gay and Lesbian Mardi Gras since 2007, recently announcing a further three year commitment as inaugural Principal Partner.”

CREDITS:
Client: ANZ
Creative Agency: Whybin\TBWA Melbourne

Creative:
Executive Creative Director: Paul Reardon
Digital Creative Director: Damian Royce
Creatives: Tara Ford, Daniel Pizzato, Andy Lish
Digital Designer: Frieda Handoko

Production:
Executive Producer: Margot Ger
Producer: Lauren Pell
Digital Producer: Mish Fabok

Production Company - Will O'Rourke:
Project & Artistic Director: The Glue Society (James Dive & Pete Baker)
Executive Producer: Michael Ritchie
Head of Projects: Josh Mullens
Project Manager: Mel Reardon

Account Service & Planning:
Regional Group Head: Mim Haysom
Group Account Director: Claire Tenzer
Account Manager: Alice McCormack
Head of Digital: Kimberlee Wells
Digital Planner: Scott Woodhouse

PR:
PR Agency: Eleven PR
PR Director: Rob Lowe
Account Director: Fiona Milliken
Senior Account Executive: Claire Verlander

Cash out and proud at ANZ

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Arek bank, Gay, gay interest, LGBT, marketing, video