You are here:
Silvio Acevedo

Silvio Acevedo

Many times news are news because they are unusual. Journalists use to quote a saying about this that goes something like ´a dog that bites a man isn´t news, but a dog that bites a man, is´. Whenever we are creating anything with the intention of reaching media with it, it will probably be a good idea to bear this concept in mind. The rarest a fact is, the most eye-catching it can become.

This campaign achieved a massive response in media -as well as it´s goal of influencing key decision makers- with a strategy based on this very principle.

Ocean plastic pollution is an enormous, constantly growing problem. The plastic industry produces more than 330 million tonnes of plastic per year, and has increased 8.6% the amount produced anually since it's beginning, in 1950. Of all that plastic, 79% is still in the enviroment (it was not destroyed or recycled), and it´s mostly in the ocean. This has an obvious and contundent impact on vegetable and animal life in the ocean, as well as a negative and tremendous impact on the enviroment as a whole.

In Phillipines, this problem is more visible than in many other places, as it's fairly common to see sea fauna dead or dying on it's coasts, due to plastic pollution. Although the issue is largley ignored in the country anyway, Dentsu Jayme Syfu Makati City found a way to use this local situation to rise global awareness on this problem, as well as influencing the ASEAN Summit of 2017 (that was heald in the country) to take concrete meassures on the matter.

Seeing sea animals dying or death on the coast can be something Filipinos are used to see. However, not even in Phillipines is everyday that you find yourself watching at a 73 feet (22.25 meters) long decomposing whale. This contundent and gruesome spectacle catched the people of the country's attention, and quickly went viral on social media.

However, it was only after this first impact that people realized that this unusual whale wasn't actually a whale at all, but a realistic sculpture of a dead decomposing whale, entirely crafted out of plastic ocean waste and, of course, a part of a Greenpeace campaign. This second surprise busted the already massive social media buzz, and made it to the news on important media channels around the world.

In this way, this unusual "dead whale" created worldwide awareness on the issue, and also got the ASEAN to include it in a proposal for the following ASEAN Summit to be held.


Certain parts of reality are many times too uncomfortable to think about, maybe because they are too disgusting, maybe because we feel powerless to overcome them. But it's also that same uneasy feeling that gives us the opportunity to turn things around.

When that happens to one of us, it may simply be a matter of resolution, of making ourselves to the idea of facing fact and taking righteous action. When, instead, it happens to the entire population of a country, although it’s basically the same thing, it can get slightly more complicated than that. This UNICEF’s campaign achieved precisely that: it actually got everyone’s attention on something they didn’t want to think about, and even got them to make a stand about it, and make a difference.

The campaign addresses the issue of child marriage in Dominican Republic, which is very common in the country, as 37% of women get married before turning 18, and 12% before they turn 15. This numbers clearly showed that this reality was tolerated, so changing things had to start by changing perception on the issue.

Getting dominicans to look at child marriage from the uncomfortable point of view of the girls who suffered it would take a clever strategy. And Pagés BBDO Santo Domingo had just the thing: getting this very much disgusting situation to be shown in the most viewed content of the country: soap operas.

The Worst Soap Opera was about the story of two very young girls, who got married with older men for economic reasons or to escape from a violent home. As the story evolved, it would show many abusive situations the young wives had to cope with in their lives.

The dominican audience was widely outraged by this “entertainment”, and even demanded the network that aired it to cancel it immediately. But this was only part of the plan: after this expected reaction, UNICEF revealed the show was a campaign against child marriage, and also explained the story was based on real situations.

From this point on, the dominicans fully supported the show and the cause, even getting public officials (including the vice president) to speak about the necessity to solve this problem. Eventually, a new law was approved, and now marriage before 18 years old is forbidden in Dominican Republic, with no exceptions.


Entrant Company: PAGÉS BBDO
Idea Creation: PAGÉS BBDO
Media Placement: OMD DOMINICANA
Rodolfo Borrell: CCO (Pagés BBDO)
José García: Creative Director (Pagés BBDO)
Esmarlin Moreta: Copywriter (Pagés BBDO)
Fermín Roa: Art Director (Pagés BBDO)
Tomás Manrique: Account Director (Pagés BBDO)
Maité García: Account Executive (Pagés BBDO)
Francesco Abbatescianni: Brand Strategy Director (Pagés BBDO)
Michael Barón: Digital Director (Pagés BBDO)
Belkis de la Cruz: Media Director (Pagés BBDO)
Rosa Elcarte: Unicef Representative in DR (Unicef)




Persuading people to take any action is all about making them feel in a certain way about things. So many times cold hard facts just won´t do, even when they are overwhelming.

Bialowieza Forest is a large remain of the primeval forest, that used to occupy an important part of Europe. It´s importance for ecological balance made UNESCO declare it as a Biosphere Reserve, as well as an UNESCO World Heritage Site, and it was also declared a Natura 2000 Special Area of Conservation by the European Union.

However, this didn´t stop the Polish Goverment from letting illegal logging in the Bialowieza Forest to happen, even going as far as to close the forest down. This situation had important press coverage, but it was clear to Greenpeace Poland that awareness alone wouldn´t be enough. It was necesary not only to let common Polish people to know and understand this was wrong, but to actually make them want to do something about it.

To get this done for them, Ogilvy and Mather Poland created a strategy based on a powerful feeling: the sense of loss. As the popular saying reads, you don't know what you've got until you loose it, and the agency found a way to make Polish people (specially young people) feel like this before the forest was actually gone. And to use that feeling to strike back.

They created a Minecraft accurate map of Polish side of the Bialowieza Forest, and made it accessible to the public. It eventually became popular among minecraft gamers, and by the time it was well known of, they replaced it with another version, in which every tree of the forest was cut down, but one -the last tree standing-.

The effect of the campaign was contundent, driving Polish public opinion strongly against logging. Eventually, the Minister of Enviroment had to resign and the logging stopped, due to the effort NGOs and Polish people, which the campaign became a part of.


It´s already extremely challenging and ambitious to create an awareness campaign that reaches the whole world, gets the message through and takes media by storm... once. However, after the Ice Bucket Challenge, The ALS Association just did it again, by launching Project Revoice.

ALS is a neurodegenerative disease that progressively deteriorates the patients´ ability to move muscles. Eventually, they lose their ability to talk as well, and this has a strong impact on them, as one´s voice is an important part of anyone´s identity.


Eluding censorship always required ingenuity. From lemon juice ink to sophisticated criptography, passing on the message whenever forbidden requires the ability to come up with something that the censors don´t yet know about, and that can actually deliver the message to the people meat to receive it in a way that works. In other words, it takes creativity.

If one thinks it this way, it actually is a very appropriate challenge for an agency, which DDB Group Berlin met in an outstanding way, as they decided the best way to help Reporters Without Borders fighting censorship was to actually get the job done.

They achieved this by basically hacking online censorship. They figured that even countries that block news sites to make information unavaliable, don´t forbid access to online music streaming platforms.

So they assembled a music team to create songs that could make censored stories reach the audiences of five coutries where the prohibition would had made it impossible otherwise. As the songs where published, international media was alerted about the project, so it didn´t only reach the itended audiences, but the whole world as well.


Winner in Cannes 2018 (8 Awards)

Entertainment Lions for Music:
- Use of Music Streaming Platform or Video Hosting Service (Gold Lion)
- Use of Original Composition (Bronze Lion)

Radio & Audio Lions:
- Use of Radio or Audio as a Medium (Gold Lion)
- Branded Content / Programming (Silver Lion)

PR Lions:
- Content-led Engagement & Marketing (Silver Lion)
- Innovative Use of Social Media (Shortlisted)

Digital Craft Lions:
- Form > Music / Sound Design (Bronze Lion)

Media Lions:
- Use of Branded Content created for Digital or Social (Shortlisted)

Company Location Role
DDB GROUP GERMANY Berlin, Germany Entrant Company
DDB GROUP GERMANY Berlin, Germany Idea Creation
DAHOUSE AUDIO Sao Paulo, Brazil Production
LE TOUR DU MONDE Sao Paulo, Brazil Production
MEDIAMONKS Amsterdam, The Netherlands Production
FINCHFACTOR Amsterdam, The Netherlands PR
DDB GROUP GERMANY Berlin, Germany Media Placement
Person Company Role
Dennis May DDB Group Germany Chief Creative Officer
Gabriel Mattar DDB Group Germany Executive Creative Director
Ricardo Wolff DDB Group Germany Creative Director
Patrik Lenhart DDB Group Germany Senior Copywriter
Felipe Cury DDB Group Germany Senior Art Director
Jack Christensen DDB Group Germany Senior Copywriter
Marco Lemcke DDB Group Germany Senior Digital Art Director
Lis Ferreira DDB Group Germany Junior Art Director
Evandro Scudeler DDB Group Germany Junior Art Director
Bianca Dordea DDB Group Germany Chief Executive DDB Berlin
Sarah Bensel DDB Group Germany Account Director
Lucas Mayer DaHouse Audio Music Director
Cassiano Derenji DaHouse Audio Account Manager
Iris Fuzaro Le Tour Du Monde Film Director
Sascha Gerlach Sascha Gerlach Editor
Robert-Jan Blonk MediaMonks Interactive Producer
Lisa van Boekhout finchfactor PR

Source: Cannes Lions Website.


Being able to call a country our own is usually a big part of who we are. People from other countries can recognize us, we feel part of a large group of people, and there´s a place in the world we can call home. Our interests can be represented by other people of our own in worldwide politics and we share a common history. In a number of ways, we exist and matter through and because of this identity.

By the end of 2016, there were 65,5 million refugees in the whole world. This is people who  get very basic rights, like education, sanitation and the right to work compromised, because they are forced to live in a different country from their own. They are vulnerable, invisible, alone and in danger.

To raise awareness about this issue, Ogilvy & Mather New York had a simple and brilliant idea:  if refugees problems come from the fact that they don´t have a nation of their own, they would create one for them. This is how The Refugee Nation was born.

For this nation to become a tool that could gain visiblity for it´s "population", it needed to have it´s national simbols: a flag and an anthem. Each of them was created by a refugee, and presented in important events and spaces, like the Oscars to the Victoria and Albert Museum.

However, the highest point of the nation's public existence probably was the participation of it´s very own team of athletes in the Olympic Games. In one of the most organized, public and important events of the world, where national teams of all over the globe compete, refugees didn´t just get their voice heard, they could participate like any other country for the very first time.

Chief creative officer: Corinna Falusi, Alfonso MarianExecutive creative director: Jon Wagner
Creative director: Bastien Baumann, Artur Lipori, Rodrigo Moran, Caro Rebello, Ricard Valero
Senior executive producer; senior executive director: Akiko Nakashima
Associate creative director: Gil Kuruneri
​Art director; designer: Justin Au
Art director:Arthur Amiune, Eduardo Lunardi, Belén Márquez, Renato Tagliari
Copywriter: Imen Soltani
Additional credits: Senior executive producer; senior executive director: Akiko Nakashima
Composer: Moutaz Arian
Design director: Lucas Camargo
Designer: Yara Said
Director: Raphael Dias, Guilherme Pau y Biglia, Marcelo Vidal
Executive sound producer: Lucas Sfair
Audio: Canja Audio Culture
Production: Asteroide, SquarePixel


This campaign, like other campaigns that aim to persuade people to adopt animals from pet shelters rather than buying them, is based in showing the abandoned animals as unique and special.

When a new celebrity becomes famous, sooner or later someone asks ´where did he or she come from´. When this happens, humble origins can be better regarded than a past of privilege. This campaign is about the stories of pets that become a social media success, with massive amounts of likes in well known social media platform accounts. In the video ads, their owners explain what they found so unique and special about their cat or dog as to share it with the world.

But in spite of the differences this three ‘stars’ can have, they all came from a shelter. All the charisma this social media ‘divas’ have and flamboyantly display for their fanbase, didn’t have noble roots. This way, just like what happens with human stars, their humble origins are dignified. They may not have pedigree, but that doesn’t mean they can’t be special and adorable.

The emotionally compelling stories this campaign tells, can therefore reach a large audience of potential pet adopters, who can identify with them and, eventually, make a story of their own. 

More ads from the campaign and information in The Shelter Pet Project website.

Winner in Cannes 2016

Category: Cyber > Social > Influencer / Talent > N/A 
Award: Silver

Agency: J. Walter Thompson
Brand: Ad Council, Maddies Fund, The Humane Society Of The United States
Country: USA
Advertising Agency: J. Walter Thompson, New York
Entrant Company: J. Walter Thompson, New York
Media Agency: J. Walter Thompson, New York
Pr Agency: J. Walter Thompson, New York
Production Company: J. Walter Thompson, New York
Additional Company: J. Walter Thompson, New York
Art Buyer: Frannie Schultz (J. Walter Thompson, New York)
Global Business Director: Greg Mcconnell (J. Walter Thompson, New York)
Producer: Nick Orsini (J. Walter Thompson, New York)
Account Director: Stephanie Blake (J. Walter Thompson, New York)
Chief Creative Officer, New York: Brent Choi (J. Walter Thompson)
Assistant Editor: Colin Edelman (Ps260)
Director Of Digital: Jennifer Usdan Mcbride (J. Walter Thompson)
Senior Copywriter: Andrew Curtis (J. Walter Thompson)
Senior Art Director: Ben Morejon (J. Walter Thompson)
Planner: Jackie Prince (J. Walter Thompson, New York)
Audio Engineer: Rob Fielack (Plush)
Tv Producer: Andrea Rodriguez (J. Walter Thompson, New York)
Executive Producer: Dana Villareal (Plush)
Producer: Donna Lee (Ps260)
Executive Creative Director: Florent Imbert (J. Walter Thompson)
Director Of Broadcast Talent: Jamie Whitfield (J. Walter Thompson, New York)
Senior Print Producer: Steve Sincero (J. Walter Thompson, New York)
Music Artist: Charles L. Schmidt (Charles L. Schmidt)
Director: Claire Cottrell (Decon)
Editor: Dustin Stephens (Ps260)
Project Manager: Lauren Galanek (J. Walter Thompson, New York)
Executive Creative Director: Emmanuel Lalleve (J. Walter Thompson, New York)
Music Artist: Lullatone (Lullatone)

Sources: Ads of the World, Advertolog, Cannes Lions ArchiveThe Shelter Pet Project website.

  • N/A


Creating and publishing content without violating laws or breaking other sets of rules, can often be a normal part of an advertiser´s job. However, in the case of this campaing, the obstacle presented was a very challenging one.

Macma, an organization devoted to fight against breast cancer, wanted to create a campaign that could make more women to check theirselves for this disease, in order improve prevention (67% of women don´t do it). David, the agency, knew that a great way to reach their audience was through social media, since women check their mobile phones 110 times a day, among other things to keep up to date with their platforms. The test is simple and free, no doctor or nurse is required to perform it, and no instrumental is necessary either -just one´s own hands-. An explanation on how to self administrate the exam was clearly a great way to achieve the campaign´s goal, considering many women don´t know how to do it.

However, Facebook forbids to feature female breast if the nipple shows. The ban applies for both the most used social network of the world, as well as Instagram. Getting around this limitation seemed impossible for a campaign like this. How can you explain a breast cancer test without showing the woman´s breasts?

Agency David had a very simple and brilliant answer for that: man-breasts. Since a man´s chest is not included in the Facebook´s policy, it was perfectly permissible to feature the full explanation of the breast cancer exam, with the help of Henry -the man whose chest was displayed in the footage-. The possibility to stress the fact that men can also have breast cancer, was also a good reason for the sex switch.

This way it didn´t only became possible to publish and share the campaign on Facebook. In the case of this ad, a lot of imagination was clearly needed to comply with the social network´s ban, in order to contribute to a social health issue, which is completely out of the question. So it also fueled the debate on what should be forbidden or not to display online, which helped the campaign to gain momentum, on social and traditional media as well.

Winner in Cannes 2016
Award: Grand Prix for Good

Agency: David
Brand: Macma
Country: Argentina
Advertising Agency: David, Buenos Aires
Entrant Company: David, Buenos Aires
Media Agency: David, Buenos Aires
Pr Agency: Urban Grupo De Comunicacacion, Buenos Aires
Production Company: Landia, Buenos Aires
Editor: Ana Svarz (David Buenos Aires)
General Accounts' Director: Emanuel Abeijon (David Buenos Aires)
David Vp Ecd: Joaquín Cubría (David Buenos Aires)
Art Director: Ricardo Casal (David Miami)
David Vp Ecd: Ignacio Ferioli (David Buenos Aires)
Copywriter: Juan Javier Peña Plaza (David Miami)
Agency Producer: Felipe Calvino (David Buenos Aires)
Producer: Thomas Amoedo (Landia)
Executive Producer: Adrian Damario (Landia)
Account Executive: Brenda Ranieri (David Buenos Aires)
President: Irene Marcet (Macma)
Account Director: Lucila Castellani (David Buenos Aires)
Head Of Production: Brenda Morrison Fell (David Buenos Aires)
Director: Nicolas Hardy (Landia)

Macma´s website:
David agency´s website (Argentina):
Source: Advertolog


World Vision Canada wanted to mobilize the public to urge the Canadian government to show leadership by supporting a peaceful solution to the 5 year Syrian conflict – one that would help restore peace and hope for a sustainable future to the children of Syria. World Vision asked Grassriots to support their advocacy efforts with a campaign to make this a reality and help save lives not yet lost.


Creative Director: Paul Bonsell
Art Director: Paul Bonsell, Deborah Caprara
Copywriter: Paul Bonsell, Logan Broger
Digital Artist: Paul Bonsell
Project Manager: Meghan Liu
Client: World Vision Canada


Humane Society has lead the fight against the commercial seal fur industry for over 40 years and have been critical in the banning of seal products around the world. HSI needs to raise money to continue toward its goal of eliminating any remaining demand for seal fur so this year, Grassriots helped them take a different approach to the traditionally bloody commercial seal hunt protest advertising with a campaign that focuses on the fact that the commercial seal hunt will never be humane.


Creative Director: Paul Bonsell
Art Director: Paul Bonsell, Deborah Caprara
Copywriter: Paul Bonsell, Logan Broger
Photography: Mark Ridout
Project Manager: Meghan Liu
Client: Humane Society International


  • «
  •  Start 
  •  Prev 
  •  1 
  •  2 
  •  3 
  •  4 
  •  5 
  •  6 
  •  7 
  •  8 
  •  9 
  •  10 
  •  Next 
  •  End 
  • »
Page 1 of 15