In The News Translations – 10/23/17

Clube OnlineAdNewsExameAbout MagazinePortal da PropagandaPropmarkPortal Fator BrasilAdonlineVox NewsRevista PronewsPortal Making OfAcontecendo Aqui and Grandes Nomes da Propaganda showcase FCB Brasil’s latest “Homemenagem” campaign for Brastemp.


 “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.



Product: Brastemp


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.

FCB International Chief Creative Officer Luís Silva Dias comments on the new wave of Portuguese creativity, as part of an article for Marketeer.


National agencies should aim for the world

There is a new wave of Portuguese creatives emigrating and proving value in some of the most competitive markets in the world. Something that was unthinkable a few years ago and that is shaping the perception of national talent, says Luís Silva Dias, Chief Creative Officer of FCB International.

Luís Silva Dias is one of the main ambassadors of Portuguese creativity across borders for 18 consecutive years at FCB (Foote, Cone & Belding), the last four as Chief Creative Officer (CCO) of the international cluster, which joins no fewer than 68 markets.

To read the full article see the October 2017 issue of Marketeer magazine.

Veljko GolubovicFCB Afirma regional creative director, offers his perspective on the importance of the Golden Drum Festival, reveals Advertiser Serbia.


Topic of the Month: Golden Drum 2017

We asked creative directors of the leading advertising agencies in Serbia about the upcoming Golden Drum Festival – the leading international festival organized on the territory of Southeast Europe.

We asked our interlocutors the following few questions:

– Has your agency applied for the competition part of the Golden Drum Festival? (If yes, state the exact names of the works and the names of the creative directors, and in which categories the works are reported. If no, why not?)

– How do you assess the significance and role of the Golden Drum Festival for the advertising industry in Serbia and the whole SEE region?

– What are the benefits of the Golden Drum Festival?

– Do you see the need to improve some of the aspects of the Golden Drum Festival?

JANA SAVIC RASTOVAC, Creative Director, McCann Belgrade, member of the Golden Drum Jury 2017

Participation in the Golden Drum Festival: This year we reported two campaigns. The DemocrARTisation Campaign for the Museum of Contemporary Art in Belgrade, with creative director Vladimir Cosic and a series of virals that we worked on for Lav Beer last autumn, with creative director Jana Savic Rastovac. We reported the works in categories Branded Content, Local Spirit, Film and Mobile.

Assessment of the importance and role of the Golden Drum Festival: The Golden Drum is certainly the most important advertising festival in this part of the world. It is a festival with a tradition that sets the criteria for the entire region. It was never easy to win the Golden Drum Award. This applies to the past, but also to the present moment. This year, the Golden Drum competes with the most Cannes winners from the SEE region. We all grow together in quality.

The quality of the festival: Education, always good lecturers, quality competition. Moving to Ljubljana for many is still a current issue – we will leave time to show how good this move was.

WELCOME DANICIC, Head of Creative, Direct Media

Participation in the Golden Drum Festival: This year we have not reported any work and we are sincerely sorry for that, but the campaigns we planned to report are still in progress and they are growing day by day, and therefore are their results, but now I can safely announce that next year you will be covered with our applications.

Assessment of the importance and role of the Golden Drum Festival: The Golden Drum is a festival in which creativity is echoing. Such festivals are necessary for the growth and development of the industry, and are also a confirmation that the region has phenomenal projects and ideas.

The quality of the festival: In the Golden Drum, I like a great focus on the development of the profession. The great advantage of the festival is that there are a lot of foreign lecturers. Far from the fact that “local” has nothing to hear, but experiences from larger markets are interesting and useful. The speed dating concept that helps innocent youngsters to get involved with older colleagues is an excellent networking mechanism.

RADOVAN KUPRES, Creative Director, Luna \ TBWA Belgrade

Participation in the Golden Drum Festival: After much thought and discussion, we decided to report only one work (TVC Brahmagupta, Credit Agricole Serbia Client, creative director Radovan Kupres, category A.12).

We had in mind that festivals have specific criteria and logic, and it is not always a good idea to run all the works that we are more than satisfied with as an agency, and they did a good job for the brand or client. When there would be no financial cost, which is not insignificant when considering the growing number of festivals, we might be tempted by luck with significantly more applications.

Assessment of the importance and role of the Golden Drum Festival: I think that the Golden Drum indirectly and directly contributed to the strengthening of the importance of our industry throughout the region, building its capacities and self-esteem. It is possible that today there is no longer the same intensity of attraction, but it is still one of the most important events related to advertising in this part of the world. Whenever I was at the Golden Drum, I had something to see and hear.

The quality of the festival: In comparison to many recent festivals, Golden Drum is still place to be. It has a tradition that prevails in its favor. Nevertheless, it would be good for it to innovate. It seems to me that I do not have exclusivity. I would expect that at the Golden Drum, one can meet someone we would expect less and who would not have to be necessarily part of our industry in the narrow sense. The future of our work is, I believe, more intensely intertwined with a wider cultural context, and this could be more reflected in the contents of the Golden Drum.

VELJKO GOLUBOVIC, Regional Creative Director, FCB Afirma

Participation in the Golden Drum Festival: We reported one work in 4 categories. It is a support campaign for the introduction of informatics as a compulsory subject and robotics in education. The creative team consisted of: Vesna Latas, Vladimir Krneta and Veljko Golubović. The categories are: Integrated, Activation Program, PR, Media.

Assessment of the importance and role of the Golden Drum Festival: It is still important, now probably more important than a few years ago. The selection returned to the countries of the new Europe, and the competition also decreased. For a time, it marked the boycott, because it was hard to conquer anything in addition to the work of the papers from America and all of Europe. With the financial crisis, there was a crisis of the festival, so the door to the East opened wide again. The Golden Drum has changed its location and is trying to restore the old glow, and I really would like to succeed in doing it.

The quality of the festival: Every international festival has a good side. You hear and meet people from other cultures, you see works from different markets, find out new things, refresh your brain with new ideas. Fill with positive energy and get a much more willing and more ambitious back to the agency. The festival is really trying to improve its work, looks and approach, and I think they know what they want and where they are going.

ANA SUTIC, Creative Director, New Moment

Participation in the Golden Drum Festival: This year, New Moment Agency participates in the Golden Drum Festival Competition with the work “One Book For Peace,” which is listed in thirteen categories: Press, OOH, Radio, Direct, Design, Digital, Integrated, Activation Program, Branded Content and Entertainment, Public Relations, Media, Capture (use) of local spirit and Innovative. It is a project that promotes unity, regardless of religion and origin, highlighting precisely a series of similarities between religions; and this year’s Cannes Lions Festival was awarded with five lions.

Assessment of the importance and role of the Golden Drum Festival: The Golden Drum is certainly the most important festival in the region, and proof of this is precisely the creative relevance of the projects and campaigns that the agencies present their work in the competition program.

The quality of the festival: The most beautiful side of the festival was its old location. In addition, of course, the role the Golden Drum has in creating a realistic illustration of the moment in which the industry is located, in terms of new tendencies. And the space for the improvement of this, and creative festivals in general, is always in improving the program and choosing current topics and lecturers.

SVETLANA ĆOPIĆ, Creative Director, Scholz & Friends

Participation at the Golden Drum Festival: In Scholz & Friends Belgrade, we decided to “skip” this year’s Golden Drum. The focus was on some other things, which required the maximum engagement of all team members, and the serious preparation of works for the competition requires dedication and time in an amount that we could not afford this year.

Assessment of the importance and role of the Golden Drum Festival: The idea to form a festival for agencies from the region of Southeast Europe was also the act of creating this creative scene, proclaiming that it exists at all. The Golden Drum played a very important role, one can say the key role first in the creation, and then the promotion of advertising throughout the region. It is only because of this that it deserves our support, especially in times when it is struggling to find its direction, as has been the case in recent years.

The Golden Drum functioned as an experimental advertising school, because it was a place where creators from countries where advertising was still in the market for the first time could compare with the countries in which the creative scene was much more developed. On the other hand, it also had an interesting program: at Golden Drum it was possible to see David Drogba, Bob Isherwood and other world-class stars at a time when it was really important to hear what they had to say.

As more agencies from some countries were involved in the competition, the whole scene has progressed and raised its creative standards. It was very interesting to observe these changes. For this reason, I was always pleased to see new domestic agencies begin to appear at the festival –  for me it was a good sign for all of us.

The quality of the festival: The best side of the Golden Drum is what it is all about!

As for the second question, I think it is necessary that the Golden Drum finds its spirit again. Organizationally, they tried many things, there were many big and small changes, but the essence is that without a massive visit of people from agencies, there are no festivals. What attracts people from agencies? Well, that’s it! It’s expensive to cost. It requires investing in exciting and relevant lectures and workshops, the arrival of well-known world creators, and excludes savings on enjoyment! Are you going to follow the closing ceremony in a nice ambience and with a good drink and a bench for a festival is a much more important question than it seems at first glance. Skepticism kills the spirit of the festival that was previously a more relaxed, charming version of Cannes. So, it needs to return its glamor and hedonism. Without this, no organizational changes will produce a significant result.

FCB Mexico promotes Rocío Fernández to vice president of business strategy and operations, announce LatinSpotsMobile Outdoor MagazineProduMultipressDinero en ImagenRevista Creativa, B&M NewsAMAP and El Publista.


Rocío Fernández Assumes Role as VP of Business Strategy & Operations at FCB Mexico

With the aim of building a single area of planning and accounts, Fernández assumes in her new role generating a fundamental change in the operation.

Eric Descombes, President of the agency, commented that “FCB Mexico continues to grow and this implies that our internal talent grows.”

With great enthusiasm, he announced the new role of Rocío Fernández as VP of Business Strategy & Operations, in September 2017. “Since my arrival at FCB, I have surrounded myself with very talented people and together with Rocío, we have made a great team. She is a key piece in the strategic vision that has our work, and that contributes to the growth of the brands of our clients.”

Rocío in this role, has a main objective to build a single area of planning and accounts. “An area that has all the skills to perfectly understand the client’s business, the competitive context in which he operates his business and, thus, to determine hypotheses and marketing recommendations to guide the advertising activities of each client.”

This is a fundamental change in the operation, since the entire account team becomes a strategic team and leaves its traditional role of monitoring projects, passing this tedious day-to-day role to a project management platform operated by project managers and an artificial intelligence platform. In this way, the profile of all account people changes, and takes from the perspective of Rocío as a strategic role of marketing focused on digital and off-line.

Rocío Fernández commented that “we are in a time where the challenges of advertising are great and where the creativity that wins is the one that solves real problems of the brands, that embraces and praises their reason for existing, and this is born of all the team behind the brand including agency and customer. The perfect match between business strategy and creative strategy are imperative. ”

As a leader of FCB Mexico‘s Strategic Planning team, Rocíohas been doing a great job for its main clients and brands. Her experience involves different categories and brands such as Unilever in its two most important divisions: Face Care (regional coordination) and Foods; Movistar; Grupo Modelo and its leading brand Corona; Conagra; Diageo (Buchanan’s, Johnnie Walker and J & B); Mars (Lucas and Skwinkles); Bank of Mexico, Liverpool, BDF, Heinz, Clorox Regional, Bimbo, Inter-American Development Bank, Ferrero and Campbell’s, among others.

Rocío is a graduate of the Communication career at Universidad Iberoamericana. She has specialized in planning, research, branding and digital methodologies. She has over 18 years of experience in the advertising business. Her passion for advertising has made her go through great agencies like JWT, Ogilvy, Leo Burnett and FCB Mexico, where she has consolidated over the last 9 years.