Clube Online, About Magazine, Portal da Propaganda, Propmark, Portal Fator Brasil, Adonline, Vox News and Grandes Nomes da Propaganda showcase FCB Brasil’s latest “Homemenagem” campaign for Brastemp. (Translation can be read on FCB Exchange.)
“Memes” in a campaign created by FCB for Brastemp
Brastemp presents the campaign “Homemenagem,” created by FCB Brasil, which is inspired by the iconic communication that showed consumers in an armchair, frustrated to have products that “were not so a Brastemp.”
“We are in a very special moment. We have launched a new signature – Without a doubt, Brastemp – and we have just renewed a great part of our portfolio. To celebrate this moment, we wanted to honor our history, while looking at the future, connecting the brand to the digital universe, ” says Renato Firmiano, director of marketing for Brastemp.
Inspired by “Memes,” the film counts on the participation of Glória Pires, Susana Vieira, Bela Gil and Carolina Ferraz .
“This campaign travels to the past to honor a classic of Brazilian propaganda, however, bringing to the digital environment what is most current on the internet today: memes. We return in time to present the future of the New Generation of Brastemp, ” states Joanna Monteiro, chief creative officer of FCB Brasil.
The film precedes communication that will present, also in the digital environment, launches of the categories of refrigeration and laundry.
Agency: FCB BRASIL
Chief Creative Officer: Joanna Monteiro
Executive Creative Director: Fabio Simões
Art Director: Viviane Araújo, Lucas Succi
Editor: André Pallu, Marilu Rodrigues, Lucas Saicali
Graphic Production: João Ricardo, Daniela Fonseca and Camila Gaudêncio.
Projects: Marcio Bueno and Luiza Di Bella
Attention: Cris Pereira Heal, Tania Müller and Henrique Neto
Planning: Marcia Neri, Bruna Rodriguez, Marcelo Facchinatto, Marcio Santos and Marielen Silveira
Media: Fabio Freitas, Cris Omura, Catarina Fortes, Rafaela Saghabi and Lucca Barbarisi
RTV: Charles Nobili, Ricardo Magozo, Pedro Lazzuri, Mariana Carneiro and Natasha Zaminiani
Image Producer: Santa Transmedia
Direction: Nylon (Caio Montanari and Boca Ceravolo)
Executive Producer: Pedro Ramos
Cinematography: Daniel Belinky
Art Direction: Jaque Ramieli
Image Production Service: Elisa Mello and Luísa Miranda
Montage: Lucas Brasileiro
FCB Global Chief Creative Officer Susan Credle discusses her creative background, philosophy and outlook on the importance of the Brazilian advertising market in a feature for Propmark.
“Our quest is to make young professionals excellent,” says FCB’s global CCO
Susan Credle is the global chief creative officer at FCB’s 120 offices and has led the agency’s deep changes.
Since taking over FCB’s 120 offices as the global chief creative officer almost three years ago, Susan Credle has led the agency’s deep changes. The idea is to make the execution of creative processes more oiled, respecting the peculiarities of the 80 countries where it operates. Aware of the impossibility of omnipresence, the executive brought the publicist Fred Levron (ex-CCA and Ogilvy) as a worldwide creative partner. On a visit to Brazil, Susan highlighted the relevance of the local operation and how the agency has supported new talent.
“The work done here was one of the reasons that made me accept the position of global CCO”
When you took over as global CCO, you said that advertising is a tool to make a difference. What does that mean?
I do not mean causes as much as large campaigns that address social issues. But something bigger than that. When I was little, I lived in a small town in South Carolina. We were quite provincial, we all thought very similarly. But the publicity showed me people who thought differently from me, who looked different from mine, other skin tones. The propaganda made me realize that there was a new world out there. Advertising, in its best version, presents people with the most diverse references of things they can learn to love and dream about. That’s where it makes a difference. I would not like to mention any particular campaign because it would end in Fearless Girl or Like a Girl. All are wonderful, but I think in essence we have the responsibility to tell great stories, to show how to create solutions in a creative way. Because we encourage people to do the same in their lives.
How does your concept of people, place, and purpose contribute to your philosophy of inspiring the new?
My purpose is very much to what I answered in the first question, that is, take pride in the industry and understand that what we do makes a difference on many levels, from guiding the economy to creating value for brands and society. When I say people, place, and purpose, I mean that every time I take on a role, I want to know who I’m going to work with, whether the place is an environment that believes in creativity and whether the purpose is above the financial return. This is what we do here at FCB, because it is the right thing to do for employees, the agency and the industry. If we make decisions in this direction, the money will come. If we make decisions outside of that, the agency and industry will also collapse.
You are one of the 100 people who make advertising great according to 4As. How do you see Brazilian propaganda?
When I commented on the importance of advertising to put beautiful things in the world, I think Brazilian propaganda has this essence of artisan work and art direction so strong, as well as the understanding of what are beautiful and well-designed things. The work is full of peculiar details. I remember when I started in this market, my first CCO said that I did not understand how Brazilian advertising could be so beautiful and at the same time important, with a strong editorial. And the work I’ve seen from Brazil is interesting precisely because of the content. In a world where we talk so much about branded content, Brazilian advertising is one of the best in the industry.
You said in an article in the Wall Street Journal that the best agencies in the world are not just service providers.Does FCB fit this model?
I was always lucky because every agency I ever worked on had that thought. At BBDO, we believed we were creating products and were proud of them. That’s my philosophy now at FCB. If I go to a restaurant, I would like to receive good service, but I also hope the food is wonderful. And the quality of food is what will make the restaurant more valuable or vulnerable. And I feel the same way about advertising. Service is important. You need to be a good partner to your client, but the quality of your creativity is what will make you valuable, being seen beyond a mere salesperson. For me, the creative product, not the service provided, makes a difference.
How do creative processes work at FCB globally?
It’s interesting because we just had this conversation with the FCB‘s creative directors in the various operations around the world, and everyone agreed that great ideas executed in an impoverished way arrive less than good ideas executed brilliantly. I hired Fred Levron mainly because I realized that being a global CCO present, that visits the various markets from time to time, would be a naive vision. I just do not have that many hours in my day. And there is a lot of what I need to do to build cultures and ensure that the FCB offices around the world have autonomy.
And what has been Fred’s mission?
It is not just a question of creating great ideas, but of supporting creative professionals to become great. I have to support these people, their visions and respect cultural differences. If we do not have all the people leading the agency believing they produce a product called creativity and it needs excellence, we will not be the best. What Fred has done is flown around the world leading our culture, working as a partner in creation. The FCB is moving to another level of recruitment by recruiting people to major roles for the first time in their careers. We are helping people with their first job to be in a bigger place than they could imagine. Having someone like Fred as a partner in creation is fantastic.
How do you see the work being done by FCB Brasil?
The work done here was one of the reasons that made me accept the position of global CCO. Because I felt that Brazilian propaganda is special. FCB Brasil is right not only because it develops creative ideas, but because it creates a platform of ideas in which customers can continue working on their stories without an end. The spirit of collaboration is also fantastic. I have been accompanying Joanna [Monteiro, CCO of FCB Brasil] with her team and she loves to help them grow. Our pursuit is to transform young people into excellent professionals. It’s an interesting reputation that we keep. I think it’s wonderful to be the agency responsible for building these talents so they can grow up and show what they’ve learned. For the agency, that’s great. And the market comes out stronger with that.
You are seen as a leader for women in the market. How do you evaluate this opening?
One of the reasons I got into the advertising business was because he was always wonderful to women. They had their names on the doors. Then, shortly after I entered, something happened. In the 1980s and 1990s I have seen fewer and fewer women playing major roles. My feeling is that brand building has become less important. If you think of TV attractions, we do not celebrate brands. When I look back, I remember women who admire building brands instead of advertising. When TV was a more dominant media, the market was just about ads. Today, because of media fragmentation, understanding how to build brands has become important again. And this requires a long-distance view, a more detailed care with things and these are characteristics of feminine essence. I think we will increasingly have this need for a feminine look. I’m looking forward to it. I do not think it’s a matter of men versus women, but more and more female characteristics will be needed.
What about representation? How much more inspiring is seeing women in charge?
Unfortunately, we have had a decade in which the number of women in the lead has dropped and this has a tremendous influence because the younger women do not see models out there. I lived with women who did incredible jobs and this motivated me to want to do them too. There is a whole generation of women, probably 10 years younger than I, who are without reference. When I took over as global CCO at Leo Burnett in the United States, there was no woman serving the same job at other agencies. They already exist today. I can count several. Seeing these women assuming great functions makes the change happen more quickly. And it makes me feel more courageous and happy to see the potential that women have at the negotiating table.
How can the advertising industry be more diverse?
What I really believe is that diversity in a room, not just men and women, but real diversity of people encouraging and guiding one another, will always allow for a better job. You are exposed to many more references, and this is reflected in much more interesting solutions. If I worked with someone just like me, it would be like having the same brain in the room. Already when I work with totally different backgrounds, nationalities, genres, sexual orientations or whatever, we have much more interesting discussions. And the work comes out braver because you do not have just one way of thinking. I think we have to give people a chance. Hiring based only on the portfolio is very dangerous. I’m trying to break through the FCB to give more chances to creative people. And teach them the discipline of what we do in advertising. This is not exactly a risk because you will not throw them without teaching them to swim. I’m not saying that this works for everyone, but agencies should be looking at random interesting people to bring in. And see what they can add to their culture. This is a way of thinking about the future.