Currently London's most admired agency, Adam&Eve DDB was created in 2012 from the merger of the existing DDB London office with fast-expanding independent Adam & Eve. Despite a long-established reputation for creative excellence, the performance of the London outpost of DDB Worldwide had declined significantly since the mid 2000s. Under its previous name of BMP DDB, it was the four-times recipient of Campaign's Agency of the Year award. However, the agency struggled during 2006 with management problems and a string of account defections. Stability was restored in 2007, but although its creative output remained strong, DDB London seemed unable to restore its lost billings. It continued to tumble down the UK agency rankings, ending up outside the Top 20 for 2010. It bounced back briefly in 2011 before losing two big accounts at the end of the year. Those concerns were finally erased with what was effectively a reverse takeover of DDB London by the Adam & Eve management team. The merged Adam&Eve DDB has retained a position ever since as arguably the UK's most admired creative agency, winning an unprecedented four Grand Prix at the 2014 Cannes Lions festival, and several more in the years since.
Selected Adam&Eve DDB advertising
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Adam & Eve DDB London website
Adbrands Weekly Update 15th Sep 2017: Ads of the Week "Fall Collection 2017". Adam&Eve DDB has become H&M's go-to agency for ads that require some celebrity wrangling. Most of the retailers' regular ads are still handled in-house, but A&E DDB have proved their mettle for H&M with those "I Beckham" films with David Beckham and Kevin Hart and Wes Anderson's Christmas 2016 camaign. So who better to coax a great bit of work from the notoriously high-maintenance Naomi Campbell? She may get top billing, but the whole supermodel line-up delivers the goods to perfection.
Adbrands Weekly Update 31st Aug 2017: Ads of the Week "Words Are Powerful". Ads for serious newspapers are always tricky. There's only really one approach agencies can take, which is something to do with the power of the written word. Virtually all recent such ads have taken the same approach; the trick is find the right way to get it across. Here's Adam&Eve DDB's take on it for the Telegraph newspaper of London. It's pretty good, but we still think Droga5 takes the prize in this sector with its recent spots for the New York Times, which went much further by emphasising the search for truth, not just a catchy phrase, as well as the importance of on-the-ground reportage.
Adbrands Weekly Update 6th Jul 2017: Ads of the Week: "The Button". Adam&Eve DDB had plenty of fun devising a collection of cinematic pastiches to demonstrate the unholy power of The Big Button. But when it comes to the new Volkswagen Golf, the button has quite a different effect altogether. It's a cute idea, and the ad was clearly a blast to make, and just as much fun to watch. However, we can't help but feel it's also oddly unsatisfying, like a delicious Chinese meal that leaves you feeling hungry a hour later. It doesn't really feel like it's saying much (or indeed anything at all) about the brand.
Adbrands Weekly Update 13th Apr 2017: Ads of the Week: "By Your Side". In a big nod towards Brexit worries, Adam&Eve DDB's handsome new campaign for Lloyds Bank follows in the footsteps of its predecessor, with a montage representing moments of great personal and social change through British history. Don't worry, we're still here, says Lloyds, with help from its long-running black horse brand mascot and some lustrous photography. Nice to hear Camille Yarborough's Praise You "straight" again, without Fatboy Slim & Spike Jonze's pavement performance art crew. This is a new version from Hannah Grace.
Adbrands Weekly Update 8th Dec 2016: Ads of the Week: "Come Together". Wes Anderson joins the Christmas ads festival with a typically idiosyncratic, mannered-to-the-extreme party piece on behalf of H&M, with assistance from Adam&EveDDB. It's been a pretty extraordinary year for seasonal specials. This one has only the slimmest of tie-ins with the client - presumably those clothes are all from the store - playing instead like some kind of out-take from Grand Budapest Hotel, albeit one in which Adrien Brody's character gives up his evil ways to enjoy a new life as a well-meaning train conductor... Delightfully arch and odd, and thoroughly enjoyable.
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