’I don’t understand it but I really like it.’ This was the surprising result of the pre-test for this campaign.
Think of the impact made by Christo’s art when he started to wrap up buildings and monuments.
Do you remember that people were initially scandalized because it wasn’t considered art? Then, they became fascinated and the prejudice disappeared. The Volvo campaign had a similar effect without asking to be considered art. Praise goes to the client who was brave enough to believe in it- and use it, in a break with the rules. You have our heartfelt thanks.
 
For Pubblimarket

It was a mini-revolution for automobile adverts. The models of a high-profile make combined with famous Italian monuments in a ’blurred’ presentation.

The conventional stillness seemed a little too static as cars - even the loveliest ones-are made to move.

A person’s character is unfailingly reflected in his/her watch. A selection of people appeared in high-standard b/w photographs coloured with sepia.
Real portraits, something unexpected in advertising, which is so often considered a ’low’ form of art.
We accompanied this campaign with a film, the first electronic one produced in Italy (1986).
 
For Pubblimarket

These are, without exaggeration, pieces of history (pre-1975).
They form part of Felix Humm’s youth, the early years in Italy spent in Milan and Turin. When having this automobile giant as a customer seemed - oh reckless youth! - the most natural thing in the world. As natural as working on the restyling of the Ferrari F1, or learning that Gianni Agnelli had hung the photographic collages of the introductory plates of the ’70 Anni Fiat’ monograph on his office wall, beside Roy Lichtenstein and other famous artists. The food was very good in Turin, sitting next to the Juventus team. Those working on the huge set were so professional they took your breath away...’and friendly too, especially because they put up with us, so young but already taking decisions, in terribile Italian’.

’I don’t understand it but I really like it.’ This was the surprising result of the pre-test for this campaign.
Think of the impact made by Christo’s art when he started to wrap up buildings and monuments.
Do you remember that people were initially scandalized because it wasn’t considered art? Then, they became fascinated and the prejudice disappeared. The Volvo campaign had a similar effect without asking to be considered art. Praise goes to the client who was brave enough to believe in it- and use it, in a break with the rules. You have our heartfelt thanks.
 
For Pubblimarket

It was a mini-revolution for automobile adverts. The models of a high-profile make combined with famous Italian monuments in a ’blurred’ presentation.

The conventional stillness seemed a little too static as cars - even the loveliest ones-are made to move.

A person’s character is unfailingly reflected in his/her watch. A selection of people appeared in high-standard b/w photographs coloured with sepia.
Real portraits, something unexpected in advertising, which is so often considered a ’low’ form of art.
We accompanied this campaign with a film, the first electronic one produced in Italy (1986).
 
For Pubblimarket

These are, without exaggeration, pieces of history (pre-1975).
They form part of Felix Humm’s youth, the early years in Italy spent in Milan and Turin. When having this automobile giant as a customer seemed - oh reckless youth! - the most natural thing in the world. As natural as working on the restyling of the Ferrari F1, or learning that Gianni Agnelli had hung the photographic collages of the introductory plates of the ’70 Anni Fiat’ monograph on his office wall, beside Roy Lichtenstein and other famous artists. The food was very good in Turin, sitting next to the Juventus team. Those working on the huge set were so professional they took your breath away...’and friendly too, especially because they put up with us, so young but already taking decisions, in terribile Italian’.