They might look warmer and more colorful, but a new batch of ads for Digital Equipment Corp. from DDB Needham/New York are as tenacious as the raw b&w campaign that broke earlier this year, according to group CD David Nathanson. "The look has evolved," he says, "but the DNA of the campaign is true to where we started-it's about clawing our way back into people's consciousness."
Each ad focuses on a different success story of the company, which is in the midst of a surprising comeback, Nathanson explains. For instance, an ad about a speedy database server that is said to work so fast it howls is illustrated with a whimsical illustration of a screaming baby. An ad for Storage Works hardware shows the equipment painted like a psychedelic VW bus, headlined: "Remember that free love thing from the '60s? It came back as a storage unit."
The dense, colorful headlines lock into the visuals and the borders, Nathanson says, as a way to reflect "angst and tension, because that's what Digital's going through right now." He adds, "It's sort of like a long distance sales call. No one's going to buy a million dollar machine from reading a print ad."
Other credits to: CD/writer Giff Crosby; ADs Jane Weeks and Mark Mueller; writers Michael Rachap and David Perris; and exec CD Michael Rogers.
While the U.S. Fruitopia campaign honed psychedelic visuals, a farewell campaign from Chiat/Day/London (Leo Burnett now handles) for the international market goes down a kitschy road, with offbeat visual puns to explain fruit evolution. "We call it eye candy," explains art director Eric Houseknecht, who teamed with writer Marcus Woolcott on the whimsical pastel-hued ads, which feature photography by Britain's Lewis Mulatero.
A similarly flower-festooned TV spot sports original music by the Cocteau Twins.
Remember the Silva Thins man? He was that Balorama-wearing heartbreaker who dumped women across the Mediterranean when they tried to get at his sexy, skinny smokes in a long-running, long-gone TV campaign. Now he's been reincarnated in a new European campaign for Martini & Rossi from Amster Yard, the boutiquey offshoot of McCann-Erick- son in New York. "The Silva Thins guy was our glimpse into a world of misogyny and political incorrectness," says Amster Yard CD Jeff Weiss. "It was all about this cool world of fast cars, fast women and the romance of the Riviera," and it's being revived, according to Weiss, to lend the brand a little masculine appeal. Starring a brooding, Belmondo-ish hunk, the campaign kicked off with four interconnected TV spots and a print campaign made to look like movie posters, all directed and photographed by Moshe Brakha of Commercial Head Films.
In the first spot Martini Man steals the blonde plaything of an aging mogul. As she leaves her sugardadddy fuming by a seaside cafe, her knit dress catches on her chair. The penultimate scene is of her pantyless cheeks emerging from under her skirt as it unravels. Cut to a raging brunette waiting by her sports car on the side of the road, obviously being stood up by you know who. The next spot opens on Martini Man racing along a seaside road in the same sports car. Nothing happens until the final frames, when a bare female foot emerges from the back seat to tickle his ear. "We wanted to get people involved in the exploits of the Martini Man, to give them something to talk about," says Weiss of the idea of creating a continuing campaign.
Creative credits to copywriters Paul Opperman and Lori Korchek and art directors