Eye for detail: A Cannes Lions design special
At the
Cannes Lions
International Festival of Creativity, while
Grand Prix
winners often dominate headlines, the true breadth of work extends across all metal categories. In "
BE Extraordinary
," a series where we collaborate with
Harsh Kapadia, CCO, Grey India
, we look beyond the top accolades to spotlight campaigns that earned silvers and bronzes, yet may not always receive widespread attention. This edition delves into specific approaches in design that exemplify innovation and effective brand engagement.
Mattel Creations: 'Not Wheels', MSCHF
The 'Not Wheels' campaign, a collaboration between Mattel Creations and the agency MSCHF, presented a counter-intuitive approach to toy marketing. Instead of promoting new, pristine
Hot Wheels
cars, the initiative focused on selling vintage, used, and even explicitly 'broken' models. This concept aimed to engage consumers by offering a limited-edition collection of Hot Wheels cars that might feature broken tires, damaged windscreens, or detached doors.
The strategy behind 'Not Wheels' was multi-faceted. It sought to tap into growing discussions around sustainability and waste reduction, offering an alternative in a market often driven by new product acquisition. Furthermore, in an era dominated by electronic gadgets, the campaign aimed to reignite interest in traditional toys by presenting them with a unique narrative.
The messaging adopted a tongue-in-cheek tone, specifically targeting individuals with a passion for cars and an appreciation for vintage items that carry a history of use, distinct from showroom-perfect models. Campaign descriptions included phrases like "does not roll" or "cinder block not included," and some promotional content featured "lo-fi ASMR unboxing videos," playfully acknowledging the imperfect state of the cars.This approach aimed to appeal to the Hot Wheels collector base by offering unique, imperfect items, fostering conversation around the brand's traditional polished image. This initiative was recognised with a Bronze Lion.
Caption with Intention, The Academy of Motion Picture Arts and Sciences, FCB Chicago
The "Caption with Intention" campaign, developed by The Academy of Motion Picture Arts and Sciences in collaboration with FCB Chicago, addressed a fundamental challenge in accessibility for deaf and hard-of-hearing audiences. Traditional closed captioning, while providing a textual representation of dialogue, often fails to convey crucial elements of cinematic storytelling such as emotional tone, nuances in sound design, or the identity of a speaker. This absence can diminish a viewer's ability to fully engage with the narrative and the artistic intent of a film.
The initiative introduced a novel design system for captions by integrating dynamic text animation. This system aimed to transform static words into a more expressive component of the viewing experience. Key features of the redesigned captioning include:
Precise synchronisation:
Captions are timed to appear with exact precision as each word is spoken, enhancing the flow and clarity of dialogue.
Intonation representation:
The system utilises variations in type size, weight, and subtle animation to visually convey shifts in vocal volume and inflection, indicating when a voice becomes louder or softer, or the emotional emphasis of a word.
Character identification:
Different color-coding is employed for captions to distinguish between speaking characters, allowing viewers to immediately identify who is delivering each line without relying on visual cues that might be missed or auditory cues that are absent.
The objective was to provide a more nuanced and engaging experience for the over 430 million people globally who rely on captions to watch movies and shows. By focusing on the 'intent' of the design through these seemingly small adjustments, the campaign demonstrated how thoughtful design could significantly enhance accessibility. While "Caption with Intention" was recognised with a Grand Prix, its foundational innovation in making a pervasive utility more empathetic underscores a broader trend towards simplicity and effectiveness in design.
Bic, William Shakespeare's 'Romeo and Juliet', VML
To commemorate its 75th anniversary, writing instruments maker Bic, in collaboration with the agency VML, undertook a distinctive project to demonstrate the enduring reliability of its pens. The brand's products are often marketed with claims of extensive writing capability, such as being able to write for up to three kilometers. This campaign aimed to visually underscore that claim by connecting Bic's legacy with a significant piece of cultural heritage.
The project involved utilising artificial intelligence to meticulously analyze and replicate the handwriting of William Shakespeare. Subsequently, a robotic arm or a specialized mechanism, fitted with a standard Bic pen, was employed to meticulously rewrite the entire text of Shakespeare's Romeo and Juliet in this replicated script.
Upon completion, the handwritten book was made available, with the specific Bic pen used for the entire rewriting process included within its pages. This initiative served as a direct product demonstration, illustrating the pen's longevity and consistent performance over a substantial task. The campaign strategically combined cultural resonance—through the iconic literary work of Shakespeare—with modern technology, in the form of AI and robotics, all centered around the physical product itself.
The timing of the campaign was also considered, aligning with the "back to school" period, a time when Bic typically sees a peak in sales. This allowed for a connection with students, particularly those engaging with Shakespeare's works. The resulting book became a unique collector's item, offering a tangible representation of Shakespeare's handwriting and Bic's enduring presence in creativity and education.
Plastic Blood - OKA Biotech, DM9
The "Plastic Blood" campaign, developed by OKA Biotech, a biotechnology startup specialising in 100 per cent biodegradable and compostable packaging solutions, in collaboration with agency DM9, aimed to visibly demonstrate the pervasive issue of microplastic contamination within the human body. The core objective was to illustrate the severity of this often-unseen problem, particularly in regions like Brazil, where plastic regulation may be less stringent.
The campaign's process involved a direct and scientific approach. Blood samples were drawn from individuals, and through a biotechnology process, microplastics present within these samples were carefully extracted. These extracted microplastic materials were then reverse-engineered and reformed into small, recognisable objects—such as miniature plastic bottles, bags, or cups. These forms were chosen to represent common sources through which humans ingest microplastics.
By transforming an invisible internal contaminant into tangible, recognisable objects, the "Plastic Blood" campaign sought to create a direct and impactful visual communication of microplastic contamination. The display aimed to underscore the urgency of adopting biodegradable materials and more sustainable consumption practices by presenting a personal and undeniable consequence of plastic pollution.
(At BE Extraordinary, a series about the winners at Cannes Lions in collaboration with Harsh Kapadia, CCO, Grey India, we peer outside the Grand Prix, and look at clutter breaking work that picked the silvers and the bronzes, but don't often get discussed.)
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