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Behind the Work in association withThe Immortal Awards
Group745

How Special Blends Fantasy, Surrealism and Animation to Promote Outdoor Adventure

09/11/2022
Advertising Agency
Auckland, New Zealand
131
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Kathmandu’s Summer Never Sleeps campaign takes the imagination to a new world with its Spring/Summer 2023 collection, discovers LBB's Esther Faith Lew


Summer beckons and there is no better way to shake off the economic sluggishness and embark on the post-pandemic journey with a fresh start – in the outdoors. Kathmandu’s campaign highlights the ideal product for consumers to get out to soak in the revitalising energy – a new range of clothing with built-in sun-protection technology.

“Kathmandu believes in ‘getting out there’ for both physical and mental health. Our goal for the campaign was to show Kathmandu-ers they can look forward to a summer jampacked with adventure, while also raising awareness of and evolving the Kathmandu brand,” says Special New Zealand’s GM John Marshall. “The fact that the range has a layered design approach means it’s perfect for whatever you’ve got planned at night too. Whether day or night – it’s all summer to us.”

The product range takes consumers away from the mindset of typical Kathmandu winter wear with big puffer jackets. With this new brand proposition, Special took the ‘We’re Out There’ brand platform and repositioned Kathmandu as “an outdoor brand for all seasons”. “Our objective was to target an audience that wants that summer spontaneity and discovery to never stop. An audience that needs a range of summer-wear to keep them out there longer. Maybe even all night,” shares John.

Adds Special’s ECD Lisa Fedyszyn, “Summer’s the perfect time for this audience to get ‘out there’ as the weather’s great, everyone has time off together and there’s just more to do. In fact, there’s so much to do that (on average) they’ll participate in 37 events over this time period. And after years of travel restrictions and everything needing to be pre-planned to the minute, this summer can finally return to what it should be – spontaneous and as full of fun as physically possible.”

Given the quirky and humourous approach of the campaign, it will appeal to the “outdoor urban millennial who sees getting outdoors as an essential antidote to a life that’s getting more frenetic”, says Lisa. “We’re not talking to wannabe-Ed Hillarys here. No one’s trying to conquer mountains. It’s still about adventure, but it’s more about having fun – not ‘knocking the bugger off’. 

We gain more insights from ECDs Lisa and Jono McMahon, CD David Shirley and Kathmandu’s chief customer officer Eva Barrett. 

Lisa Fedyszyn and Jono McMahon


LBB> How did the idea come about and how did the client react to it?

Lisa> The group we’re talking to already approach summer as a non-stop thrill ride. Their summer isn’t so much a collection of stories and adventures as it is one long story – a hike to have a picnic, where they go for a swim, that leads to partying on the beach till dawn and watching the sun come up. It’s a group that already tries to pack everything they can into summer – our job was to inspire them and help make it happen. 

We built on the assets of Kathmandu’s products – a range that lets you stay out there all day and night. Of course, if that’s your approach, you’re obviously not going to be sleeping this summer. So, our story focused on a group of friends who did just that. They set out on a seamlessly flowing adventure that rolls from day into night and back into day as simply as a merman flipping a light switch. And, since sleep no longer holds sway, we gave new purpose to everything associated with slumbering – pillows became campfire marshmallows, sheep counted humans to fall asleep. Even crawling into your tent (normally the end of your day) simply leads you down a long tunnel to another adventure – a cave party with an owl DJ, because your circle of mates now includes nocturnal animals.

When we presented it to Kathmandu, their reaction was perfect – “It’s great. Let’s make it.” Their challenge to us is a simple one. Each new campaign needs to outdo the last. If you’re going to live up to the brand promise “we’re out there” you can never take a backward step. You can’t even stand still. We love them and admire them for their incredible vision. 

LBB> What was the thought process like in conceptualising and giving life to the idea? Talk us through the various stages of creative production.

Dave> The concepting and script writing felt like it came quite easily. It was such a fun thought to write to, that the story just kept evolving. We never wanted to stop. The first draft still had those central characters and themes – roasting pillows over a campfire, a merman and traveling art group, a tent that leads to a party with an owl DJ and, of course, “El Foxxo” as she became affectionately known. But the script grew with each iteration – never letting ourselves stop pushing was important. Then Daniel brought his genius to the table and the story evolved again into the lip-synching, laser-eyed extravaganza it is today.

From the incredible work of Scoundrel, to our brilliant DoP, to casting, to the animation, VFX and post-production – everyone added their own magic and helped make what was already out there and wonderful, so much more and wonderful-er.

LBB> The creative approach is quirky and light-hearted. Why does that resonate with Kathmandu consumers?  

Jono> Being outdoors should be fun. It’s treated a little too earnestly sometimes. It feels like you either have to be conquering the mountain or on a quest to save it. That can all feel a bit intimidating, especially in the times we’ve lived through recently – we really just want to get out there again and enjoy some spontaneous fun, get a bit silly and get out there. Who’s up for an owl DJ set? 

Dave Shirley


LBB> How did the director take inspiration from the 1970s Brazilian classic, "Jimmy Renda-se" by Tom Zé and bring together the creative elements?

Dave> The music track was one that the copywriter had held onto for some time. He’d heard it on a movie soundtrack years ago and tucked it away in the back of his brain, as creatives do – just waiting for the right project to use it on. When we approached Scoundrel and Daniel Warwick with the script, the “Jimmy Renda-se” track was part of the pitch – “Can we embrace something less expected with the music, that talks to our ‘out there’ nature? Is it a little 1970s Tropicalia, courtesy of Tom Zé?”

Luckily, Daniel was just as excited about the track as we were. Maybe more so. “I LOVE THIS SONNNNNNNNNG!!!” he replied. The track became central to Daniel’s treatment and the eventual ad, providing the rhythm and momentum to the film – ebbing and flowing with the story. Even being lip-synched by the characters, like some incoherent dialogue being echoed back and forth by our adventurers.

LBB> How did this production show off best in class processes and techniques as the crew worked seamlessly from on location filming to studio shots to illustration to VFX to editing and the sound engineering?

Dave> Daniel’s treatment blew us away. So many great ideas and builds on the story, and Scoundrel came back to us with a really solid approach from a production perspective. There was a good deal of trust and bravery required to bring an idea like this to life, but we knew we were in safe hands with a production partner like Scoundrel. They brought BAS productions on-board, who helped source all the locations, talent and incredible production designers, Miha and Lara. 

LBB> How were the mixed media effects worked into the production? Talk us through the studio process and the technology and techniques employed and their significance.

Dave> Scoundrel had a plan going into the shoot about specific scenes that would involve mixed media. So, while the team processed and scanned the negatives, we had post production company bEpic and illustrator Laurie Herman working on the 2D animation. Laurie in particular worked tirelessly on the animation, drawing every single frame of movement, which gave the sheep an old school feeling and interesting way of moving. It was a labour of love for her but it paid off. Once the offline was complete we completed the grade with bEpic and then integrated the animation. As happens in the process, some things were left on the cutting room floor, but the ad was that much better for it. The sound mix was the final flourish, which we kept quite stripped back, as we really wanted the track to shine. 

John Marshall and Eva Barrett


LBB>  How did an idea like this get approved at each stage – from creative concept, to treatment to the final edit?

Eva > Our brand platform is all about getting 'out there' in nature and we felt this work hit the brief spot on. It's distinctive and visually arresting. Great creative is how we differentiate ourselves with our core consumer who is bombarded with advertising and messaging all day long. This work shows the joy of getting out there all summer with your friends and we loved it. Special is our partner, we trusted them and we truly believed in this work and the effectiveness it could drive so we couldn't wait to approve it. Work with great partners and create great work. It's surprisingly simple. As a client, don’t overanalyse it and don't mess it up! Protect and fight for great work, this is how you transform your brand.”


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