Evidently, people really, really hate the ‘Liberty Biberty’ mascot. Hmmm, curious!

This article really got my attention so I thought I’d share it.

Katie Notopoulus of Business Week and Kayla Iu of the Daily Free Press recently witnessed a small crowd taking to the streets of Boston to protest, holding signs, chanting, with one person even appearing in full costume and face paint. The protest took place in front of the Back Bay headquarters of insurance company Liberty Mutual. The protest was not against some sort of corporate malfeasance, political, or even a social justice issue.

They were protesting the existence of Liberty Biberty, the new fuzzy yellow mascot that appears in the insurance giant’s TV ads.

People, for some reason, really hate the Liberty Biberty puppet.

There’s a Facebook page with over 40,000 people devoted to hating it. There’s TikToks. Reddit threads. There was even a depicting of the spherical character being fed into a meat grinder.

The concept of the ads is surreal and self-referential. Liberty Biberty is a yellow puppet who has appeared in a few TV ads so far. In one, he appears on someone’s car and tells them about the benefits of auto insurance, and then is carried off by a hawk. In another, he chats to a bored bartender, and then meets the aforementioned hunky actor prone to malapropisms.

Liberty Mutual is well aware of the, ahem, passionate response.

“We’re encouraged by how strongly people are engaging with him, whether they love him or feel differently,” Jenna Lebel, Liberty Mutual’s chief marketing officer for US retail markets, told Business Insider. “We’ve been encouraged by the early results, including independent testing that shows Biberty performing above average on attention and brand attribution.”

Insurance companies’ advertising strategies for the last decade or more has been focused on a series of recognizable characters like Flo from Progressive, Jake from State Farm, and “Mayhem” from Allstate. Let us not forget the forefather of them all, the Geico gecko. Liberty Mutual has also had Doug and the LiMu Emu, as well as a hunky actor prone to malapropisms — hence “biberty.” (Don’t worry: Doug and the LiMu Emu are still active, Liberty Mutual’s PR person assured. Some complaints about Biberty were that people thought it had replaced the popular human/avian duo.)

Young people are watching less and less linear television, and so see fewer traditional ads, with one big exception: sports. Most of the people I talked to mentioned seeing the Liberty Biberty ads during baseball or football games, week after week.

The repeated exposure to the ads seems to be getting under people’s skin.

“I think Liberty Bibberty is just a disgusting little creature,” Connor Harvey, the organizer of the protest in Boston, told me. The 19 year old content creator from New Hampshire said that he considers himself a “sucker for weird advertising,” but that the fluffy yellow orb seems to be intentional ragebait — purposely meant to be annoying.

“The new Biberty campaign has definitely sparked a conversation, with a wide range of reaction and opinion. We’re listening to all of it,” Lebel said.

Zach Johnson, 40, manages a machine shop in North Carolina and was inspired to start the Facebook group “Liberty Biberty Hate” after seeing the ad multiple times while watching TV with his wife one night. “It’s a terrible mascot. Plus, they have more mascots than I can think of,” he said.

The over-the-top hate towards the mascot is certainly a bit tongue-in-cheek; although some people may find it genuinely annoying, it’s not offensive or tone-deaf.

Does that mean all that hate may actually be a good thing for Liberty Mutual?

“I think there’s a real opportunity right now to jump in and have fun with this moment in a way that, frankly, a lot of brands would absolutely die for,” said Simon Bruyn, ad industry vet and co-founder of the marketing strategy firm Significant.

“For that Gen Z and younger culture, who might be starting to get into insurance decisions, you suddenly have a very clean crossover into an internet nascent brand that feels like something you could really, really have fun with and play and own that idea of faux outrage,” Bruyn said.

Harvey, the protest organizer, isn’t in the market for home or auto insurance — for now. “I’m on my mom’s insurance,” he said.

Sadie Denty, a 21-year-old college student, said she traveled from Maine to protest because she doesn’t usually get to partake in many “fun internet things.”

“I get the ads constantly, and there’s been talks about AI generation which I personally don’t support. I think we should go back to having more fun ads,” she said. “I just think we need to reset what we see on our ads and on our screens.”

Denty said the protest was about more than just the mascot.

“I think we live in a really divisive time,” she said. “And sometimes silly things like this are a great way to bring a real community together.”

Hopefully making a ruckus, one blog post at a time!

Be sure to check out my other blog,Joe’s Journey, for selected short stories and personal insights on life and its detours.

Future of Advertising 2030

Below is a briefing of various articles compiled by the AAByAd Age Staff. Some you will need a subscription to read while others you may not. I have a $20 per month subscription to stay close to the industry.

In 2030, advertising will be defined by advances in AI, new consumer behaviors, evolving career paths and shifting agency models. To help marketers prepare, Ad Age gathered insights from more than 100 leaders across brands, agencies, media companies, consultancies and tech, along with perspectives from our readers. The result is a wide-ranging look at the forces already reshaping the business—and what they mean for the years ahead.

What is Ad Age Future of Advertising 2030?

Who is it for?

Ad Age’s Future of Advertising 2030, available exclusively to All Access subscribers, examines how marketing, media, agencies, creativity, culture, leadership and ad tech will change over the next five years. The package features 14 stories with insights from industry leaders and readers, plus exclusive checklists, timelines and interactive elements.

This package is built for anyone shaping the future of marketing—from junior specialists building skills to CMOs setting strategy. It’s designed for agency leaders, media buyers, creatives and brand marketers who need more than predictions: clear strategies, checklists and guidance to prepare for the next five years. If you plan, buy, build, measure or lead, this roadmap will help you get in shape for what’s next.

Where can I read it?

Find the full list of stories on the Future of Advertising 2030 section page.

Adobe Stock

List of Future of Advertising 2030 stories

Marketing and consumers

Agencies

Technology and tools

Reader predictions and takeaways

Podcasts

Ad Age reporters and editors also shared some of their biggest takeaways from their reporting on the Ad Age Insider podcast, hosted by Parker Herren:

Guest contributors

In addition to the 14 main stories, the package includes opinion pieces from guest contributors offering their hot takes on the industry’s future—available on the Future of Advertising section page or in Ad Age Opinion.

Headlines include: 

Here’s more

https://adage.com/trends-predictions/future-of-advertising-2030/aa-why-marketing-roles-will-look-different-by-2030/

And then some:

https://adage.com/trends-predictions/future-of-advertising-2030/aa-why-risk-will-be-competitive-advantage-in-2030-marketing/

https://adage.com/trends-predictions/future-of-advertising-2030/aa-why-advertising-will-split-into-ai-and-human-extremes-by-2030/

https://adage.com/trends-predictions/future-of-advertising-2030/aa-agency-execs-prepare-for-ai-disruption-and-shifting-roles

Hopefully making a ruckus, one blog post at a time!

Be sure to check out my other blog,Joe’s Journey, for selected short stories and personal insights on life and its detours.

Apple’s ‘I’m Not Remarkable’ wins 2026 Emmy Award for best commercial

After reading about this commercial and then seeing it, I felt it worthy of sharing, especially for those who may not be aware. So listen, watch and read about it. I think you’ll be impressed as I was. Enjoy! Thanks Tim Rudd of AdAge for your share.

Apple’s effervescent three-minute accessibility spot “I’m Not Remarkable” won the 2026 Emmy Award for Outstanding Commercial on Sunday—the tech giant’s third Emmy win for best commercial in the past four years and its second Emmy win partnering with Somesuch director Kim Gehrig on an accessibility message. 

The five other nominees this year included another Apple spot—the holiday story “A Critter Carol”—as well as the Adidas World Cup spot “Backyard Legends”; Coinbase’s Cannes Grand Prix winner “Your Way Out”; Levi’s 2026 Super Bowl spot “Backstory”; and Nike’s “Why Do It?” anthem from last summer.

“I’m Not Remarkable,” made in-house by Apple, rolled out last December. Set to the Kittyy & The Class track of the same name, the musical piece follows Deaf and disabled students through classrooms, dorms and parties at college. The lyrics reject the usual narratives portraying disabled people as extraordinary, arguing instead that they simply use different tools. Apple features including Magnifier for Mac, Braille Access, Accessibility Reader, VoiceOver, AssistiveTouch and Live Captions appear throughout the film as students juggle lectures, friendships and deadlines.

Gehrig also directed Apple’s accessibility spot “The Greatest,” which won the Outstanding Commercial Emmy in 2023. Apple also won the award in 2024 for the holiday spot “Fuzzy Feelings.” (Uber One interrupted Apple’s streak last year, winning for the spot “Brian Cox Goes to College.”)

Hopefully making a ruckus, one blog post at a time!

Be sure to check out my other blog,Joe’s Journey, for selected short stories and personal insights on life and its detours.

What Neiman Marcus Taught Me About Creativity

A very interesting look at one of America’s most iconic fashion and retail traditions from an insider’s perspective. Enjoy the intake and the share.

Opening Hook

Most people will remember Neiman Marcus as a department store.

She remembers it as one of Dallas’ greatest creative institutions.

Long before she became a designer, Bucki Rogers visited the downtown flagship not to shop—but to study.

Every season brought new window displays, new visual stories, and new reasons to stop and look.

Looking back, I realize those visits influenced my creative career far more than I understood at the time.

The Breakdown

For many people, Neiman Marcus was retail.

For creatives, it was inspiration.

Stanley Marcus and Ken Knight understood something many brands still struggle with today:

People don’t remember products. They remember experiences.

The windows weren’t displays. They were theater.

The store wasn’t a destination because of what it sold.

It was a destination because of how it made people feel.

Long before experiential marketing became a buzzword, Neiman Marcus was practicing it every day.

My Creative POV

I’m not a retail designer.

But I often find myself borrowing the same principles that made Neiman Marcus unforgettable:

  • Create anticipation
  • Reward curiosity
  • Make people feel something
  • Design the experience, not just the object

Some of the most important creative lessons I’ve learned didn’t come from a classroom or agency.

They came from places like Neiman Marcus.

Places where creativity was visible.

Accessible.

Public.

Why It Matters

As Dallas prepares to say goodbye to the flagship in September, I can’t help but think about the generations of designers, photographers, artists, merchandisers, and creative thinkers who walked through those doors and left inspired.

The building may close.

The influence won’t.

Great creative work doesn’t just sell products. It shapes future creatives. Sometimes the most influential design isn’t found in a studio. It’s found in the places that inspire us before we even know we’re looking for inspiration.

Thanks to Bucki Rogers, VP, Creative at X-Caliber & Affiliate Companies | Corporate Branding, Brand Marketing Strategy

Hopefully making a ruckus, one blog post at a time!

Be sure to check out my other blog,Joe’s Journey, for selected short stories and personal insights on life and its detours.

Finding New Relevance for a Legacy Brand: Victoria Lozano’s Crayola Journey

marketing vanguard victoria lozano

Interesting Journey Below

I found this interview quite interesting and thought you might, too. Enjoy!

Surely a legacy brand like Crayola has done all it could to grow, right? Wrong. 

In this episode of the Marketing Vanguard podcast, recorded live at Brandweek in Atlanta, Victoria Lozano, then-CMO of Crayola, proves that the growth work of even the most iconic brands can and should never stop. 

From how nostalgia can be leveraged to the advantage of expanding into unexpected categories, this conversation covers it all. 

What you’ll learn:

  • How to merge nostalgia with future-forward relevance
  • Why a CMO’s role with high-awareness brands requires category expansion
  • The framework for segmented messaging across stakeholder groups
  • How to unlock hidden revenue streams in plain sight, like recognizing that 57% of Crayola purchases are made by adults without children
  • The power of branded sensory identity as a defensible competitive advantage
  • Why ecosystem thinking matters more than individual business unit performance

Victoria Lozano, former CMO of Crayola, is renowned for her expertise in brand strategy, category expansion and omnichannel marketing across iconic consumer brands. With a career spanning Fortune 500 CPG companies including HBC, beverages and confectionery, she has built a diverse track record in product innovation, location-based entertainment, and educational strategy. 

Her work at Crayola demonstrates how legacy brands can evolve, redefine brand categories, unlock new consumer segments, and build enduring marketing strategies that transcend traditional product boundaries, all while maintaining emotional resonance. 

Episode Highlights: 

[00:26] Merge Nostalgia with Cultural Relevance to Stay Top-of-Mind — Victoria articulates the strategic tension facing iconic brands: leverage the emotional power of nostalgia while simultaneously showing up in current cultural conversations and proving relevance to today’s consumers. Nostalgia alone creates brand warmth but risks positioning the brand as a historical artifact; relevance alone without emotional resonance feels opportunistic and inauthentic.

The solution is to actively design products, experiences, and content that honor the brand’s heritage while addressing present-day consumer values. In Crayola’s case, that’s creativity as essential skill, wellness, self-expression and mental health. 

[06:18] Redefining Your Use Case, Expand Revenue — Victoria highlights a counterintuitive but telling statistic: 57% of Crayola purchases now come from households without children, a massive untapped segment driven by adult wellness and self-expression rather than childhood nostalgia. By repositioning coloring from a kids’ creativity tool to an adult therapeutic escape (competing against wine, meditation apps, and wellness products), Crayola unlocked an entirely new growth category that’s expanding three percentage points year-over-year.

This insight reveals that growth for mature brands lies not in market share cannibalization but in redefining what problem the product solves for new audiences. 

[07:50] Craft Differentiated Value Promises for Each Audience Segment — Victoria demonstrates that premium brands must make fundamentally different promises to distinct audiences, whether it’s kids, parents, teachers or adults. In Crayola’s case, for example, for kids, the promise is simple joy and fun; for parents, it’s skill development and childhood enrichment backed by research. CMOs can operationalize this by mapping each audience segment’s core motivation, then reverse-engineering messaging and channel strategy from that single, clear promise.

The result is messaging that feels authentic to each group while maintaining consistent brand identity, increasing conversion likelihood across the entire customer ecosystem. This approach transforms competitive pressure from a distraction into a reinforcement of positioning, since each segment’s promise is so precisely calibrated to their unique needs.

[13:41] Shift Societal Conversation Around Creativity as a Core CMO Advocacy Role — Victoria positions the CMO role as not merely a growth driver but as a cultural advocate responsible for shifting how society values and nurtures creativity in both children and adults. Rather than treating this as brand marketing theater, she frames it as a substantive strategic priority that shapes product development, partnerships, education strategy, and media investment.

CMOs can apply this by identifying one core societal value or belief that aligns with brand purpose and then systematically deploying marketing resources, research, partnerships, and content to shift public perception of that value. This approach generates earned media, attracts mission-aligned consumers, builds employee pride, and creates barriers to entry that pure product competition cannot match. 

JENNY ROONEY is Chief Brand and Community Officer, leading strategy for the overall ADWEEK brand as well as the ways in which we serve and support our audiences with high-value content, products, partnerships and experiences, notably through our community programs such as Marketing Vanguard.

Hopefully making a ruckus, one blog post at a time!

Be sure to check out my other blog,Joe’s Journey, for selected short stories and personal insights on life and its detours.

Richard Edelman on trust, creators and CMO mistakes—and what it all signals for brand marketing

After the Cannes Festival ended a few weeks back, I read an interesting interview with Richard Edelman about trust. Below are just a few questions slightly edited for clarity that I think you’ll find enlightening. The interview was conducted by Jeanine Poggi, AdAge Editor-in-Chief.

Trust is a recurring theme at the Cannes Lions International Festival of Creativity this year, and Richard Edelman, the CEO of Edelman, thinks the challenge runs deeper than declining trust in institutions or the rise of AI-generated content.

Consumers are becoming more insular, relying on smaller networks and trusted voices to make sense of the world around them, Edelman argued during a conversation with Ad Age. The impact for marketers, he said, is a shift from “we” to “me”—from broad messages designed to reach everyone to more personal connections that make consumers feel seen, understood and represented. That shift has major implications for how brands communicate, who they partner with and what it takes to break through.

Edelman, who has led the agency since 1996, shared his views on why creators are becoming more influential than celebrities, what marketers are getting wrong about audience connection and why he believes brands need to stop talking at consumers and start meeting them where they are.

Jeanine Poggi: How do you build trust today?

Richard Edelman: The first is, we have to do information from the bottom up. Bottom up means we have to talk to friends and family, we have to talk to people like pastors, pharmacists. It can’t be top down. That’s change No. 1.

Change No. 2 is brands have to do something, they can’t just say something. So if you want to be successful, you need to be in action mode. Some of it can be fun action but you can’t just get attention. You can’t just be living in culture.

Third is, and that’s why I think our research at Cannes is important, we have to recognize that people are in a very insular mindset, that their groups have become very small. And that if you’re insular, if I see you selling to people who are different than me, I’m going to reject your marketing. So I’m gonna say you’re not for me.

Poggi: So then how do brands build broad appeal when consumers are becoming more insular?

Edelman: We have to stop having campaigns that are about we and be about me.

How do I benefit you? I benefit you because I see you, I’m helping you, I’m making you feel better, I’m giving you a chance to talk back to me.

I think, for example, science needs to have a new deal with society. Science was always just accepted—we have a polio vaccine. Now it’s well, were the clinical trials biased? People are asking different questions. And so we have to take information down to a level. It has to be not only in local market, but even the micro market.

Poggi: Are brands putting too much emphasis on celebrity influencers?

Edelman: They should be looking to creators. They should be looking to people who have feet on the street. We want trusted creators. We want people who speak with authority to smaller audiences, because it’s more credible.

I saw this at the Consumer Electronics Show in Las Vegas when two-thirds of the people who were at the Samsung launch of the fold phone were creators.

That’s the job for PR, is to find them, speak with them, involve them with the clients and have 50 of them go to Korea and be part of the process of developing a foldable phone. And then they’re on the journey.

Poggi: What’s the biggest shift marketers need to understand right now?

Edelman: I want people on the brand side to understand that the glass mirror is shattered on the ground. And that we’re lots of little shards and we have to talk to the shards and we have to talk to people in the way that they want to speak. And that’s with ordinary folks who have experience with the product and who are therefore believable.

Poggi: What do you think CMOs are getting wrong?

Edelman: I think they have to play offense. I think they can’t play defense. I think they can’t hide. I thought the Super Bowl stuff, a lot of it, was not penetrating to me because it was not memorable.

I think what’s going to stand out is brands that really inform me and value me as a voice, and they do it in part by letting go of their power.

Why are e-commerce brands succeeding? They’re succeeding because it’s a person like me. It may be someone a bit more celebrity, but big brands have to disperse their power and can’t feel big. They have to act small.

And I’m nervous that brands go, “I don’t want to be in politics.” Fair enough. I don’t want you to be in politics either.

But I want you to be relevant, and I want you to listen to people—the fears, inflation.

The second is fear of AI. This is crazy: two-thirds of people think they’re going to be sacked because of AI.

And the last and most problematic is: people have no sense of what the truth is. And so they’re withdrawing.

The brand has to find that withdrawn person and say, “come out, let’s talk about what you care about. And here’s something that’s going to make you feel optimistic.”

Richard Edelman speaking at the 2026 Cannes Lions International Festival of Creativity. (Edelman)

Hopefully making a ruckus, one blog post at a time!

Be sure to check out my other blog,Joe’s Journey, for selected short stories and personal insights on life and its detours.

What I’m taking home from Cannes—takeaways from Editor-in-Chief Jeanine Poggi

Just a week or so ago the Cannes International Festival of Creativity was held in Cannes, France. Below is a write-up from AdAge’s Editor-in Chief on her impressions. Interesting reading!

Jeanine Poggi, editor-in-chief at Ad Age, speaks on stage with executives from Sephora US, Hinge and Heineken Mexico.
It’s me! (at right) Moderating a panel at this year’s Cannes Lions

ByJeanine Poggi, Ad Age editor-in-chief

June 27, 2026 07:00 AM EDT

On my way to Cannes, Delta offered a $7,000 voucher to switch to a later flight because my red-eye was overbooked. I almost abandoned the festival altogether. In truth, I was already exhausted by the idea of yet another conversation about AI anxiety and another debate about how the heart of the festival—the creative—has been replaced by data and technology. 

I begrudgingly got on the plane (at least I had the rosé to look forward to). 

And yes, there was plenty of hand-wringing over AI, plenty of debate about how exclusive and closed off the festival has become and, of course, plenty of complaints about the unbearable heat. 

This year, though, Ad Age took a bit of a different approach to the festival. Instead of filling the week with back-to-back panels, we convened chief marketing officers, creators, agency executives and marketing leaders for smaller roundtable discussions. We gave them the space to talk more freely, and they went deep on the challenges they are facing (it wasn’t just AI):

  • In our CMO roundtable, marketers spent a meaningful amount of time talking about convincing CFOs that creativity matters. 
  • During our creator-brand discussion, creators challenged brands to stop treating them like media buys and start treating them like strategic partners. 
  • At our Leading Women Network roundtable, a conversation about career visibility quickly became one about the invisible work required simply to be in the room.

Each of those conversations, without fail, ended with talking about trust, community and what it means to build genuine connection. It was these conversations that made dealing with what the French consider air conditioning worth the trip.

Here’s what else I’m taking home from the conversations at this year’s festival:

Marketing is becoming more human, not less.

One of my favorite moments from the week came during a CMO Spotlight panel I moderated at the Palais. I asked each of them the same question:

In one word, what’s the future of marketing?

Zena Srivatsa Arnold, CMO of Sephora, answered: community.

Tamika Young, CMO of Hinge, said: heart.

Marta Moreno Gómez, senior marketing manager, Heineken and international premium brands, Heineken Company, chose: human.

Three different answers, but the sentiment was the same: the future of marketing is built on stronger human connections.

Richard Edelman, CEO of Edelman, described a world that’s becoming more insular, where consumers increasingly rely on smaller networks and trusted voices. His advice to marketers: shift messaging from “we” to “me.” Build trust by making people feel seen, understood and represented.

That same thinking surfaced elsewhere throughout the week:

Pinterest’s “Less URL. More IRL.” activation reflected a desire for deeper, real-world connections. Netflix centered its Cannes presence around fandom. Even conversations about creators weren’t really about creators—they were about the communities they’ve built and the trust they’ve earned.

Again and again, technology was discussed as an enabler, not the strategy itself.

The creativity conversation has changed

For years, one of the recurring debates at Cannes has been whether creativity—the very thing the festival was built to celebrate—has taken a back seat to performance marketing.

That conversation is still happening.

But this year, it felt secondary to a different one: how marketers can convince the rest of the organization that creativity is a business driver, not just a marketing function.

It showed up in different ways throughout the week. The new Creative Brand Lionsrecognized companies that have built creativity into the way they operate, not just those that produced a standout campaign. Procter & Gamble’s Marc Pritchard spoke about using AI to accelerate creativity, not replace it. And across conversations with marketing leaders, the focus was less on choosing between brand and performance and more on building organizations where creativity can consistently drive business results.

The question is no longer whether creativity matters. It’s how organizations create the conditions for it to thrive and how marketing leaders make the case for it across the business. Creativity is increasingly being viewed not as a campaign outcome, but as an organizational capability.

Creator marketing has grown up

Five years ago, most creator conversations revolved around reach, engagement and follower counts. That isn’t what I heard this week. 

Brands talked about bringing creators into annual planning before a brief exists. Creators described themselves as consultants, product advisors and entrepreneurs. Compensation discussions extended beyond sponsorships to licensing, equity and long-term partnerships.

Edelman argued that brands should be investing less in celebrity and more in trusted creators with deep credibility inside smaller communities. The common thread was trust. 

AI is moving from novelty to infrastructure.

Last year, many of the conversations around AI centered on disruption.

This year, marketers were asking much more practical questions: How should teams be organized? What work belongs in-house? Which workflows should AI handle? Where does human judgment still matter most?

Pritchard described AI as a way to uncover insights faster and accelerate creative development, not replace it. One participant in our roundtable captured the sentiment in a single sentence: “You still need people with excellent taste.”

That may have been my favorite quote of the week because it recognizes what technology still can’t replace.

Leadership isn’t just built at work

But the conversation that personally had the biggest impact on me came during our Leading Women Network roundtable. 

We started by talking about networking, personal brands and career visibility. We ended up talking about everything it takes just to be in the room.

Women shared stories about partners rearranging schedules, grandparents flying in to help with childcare and the weeks of planning required simply to spend a few days in Cannes. One participant admitted she rarely talks publicly about those realities because she worries they’ll be interpreted as a lack of commitment. I suspect that’s true of many women leaders in this industry. 

We spend a lot of time talking about how people become leaders. We spend far less time talking about what it takes to make leadership possible in the first place.

That conversation was a reminder that visibility isn’t just about raising your hand or building your network. For many leaders, it’s supported by an invisible layer of planning, tradeoffs and care work that rarely gets acknowledged but makes showing up possible.

The conversation that matters: Trust

If there was one thread running through nearly every conversation I heard, it was trust.

Edelman talked about consumers relying on smaller circles and trusted voices. CMOs talked about community, heart and being more human. Brand leaders talked aboutgiving creators more ownership. Marketers also talked about earning buy-in from their own organizations.

As the industry becomes more complex, technology alone isn’t going to solve the hardest problems. Those solutions come from people sharing ideas, challenging one another and learning together.

That’s why Ad Age keeps bringing this community together—not just to report on what’s changing, but to create space for people in the industry to make sense of it with one another. 

I’m glad I didn’t take that $7,000 voucher. 

Hopefully making a ruckus, one blog post at a time!

Be sure to check out my other blog,Joe’s Journey, for selected short stories and personal insights on life and its detours.

Kotex confronts art world taboo with ‘Art’s Missing Period’ campaign

The art world has succumbed to controversy via a graphic outdoor display of the menstrual period. Continuing education of health issues is in the public interest so why is this display so disturbing to some?

Singapore – Kotex has launched a global campaign highlighting the absence of menstrual blood in mainstream art, positioning it as a long-standing form of cultural censorship.

Developed with DAVID London and Ogilvy Singapore, “Art’s Missing Period” brings together works that were previously rejected by galleries or removed from public display due to their depiction of menstruation. 

The campaign reframes the issue as one of visibility, arguing that while violent imagery involving blood is widely accepted, menstrual blood remains excluded.

Kotex revives banned art showing period blood

“Visibility shapes culture, and we set out to change both,” said Genevieve Gransden, Executive Creative Director at DAVID London. 

“This is not just a campaign. It is a restoration of voices, narrative and art that deserves to be seen,” said Selma Ahmed, Executive Creative Director at DAVID London.

The campaign includes a short documentary directed by Emmy award-winning filmmaker Kathryn Everett and narrated by journalist Noor Tagouri. 

The film examines how depictions of blood tied to violence are widely shown, while menstrual blood is treated as taboo, and features accounts from artists who have faced rejection linked to the theme.

Beyond film, Kotex has rolled out mobile billboards and street posters outside major museums, including the Guggenheim, the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Museum of Modern Art. 

The placements position the campaign directly at the doorstep of institutions central to shaping public art discourse.

QR codes embedded in these placements direct audiences to a virtual gallery hosting more than 40 artworks centred on menstruation. 

The online platform, launched on April 6, 2026, will run for one year and is designed to provide a dedicated space for artists and exhibitions exploring the subject.

The campaign marks Kotex’s latest effort to address stigma around periods, shifting the conversation from product messaging to broader cultural representation.

Thanks to Sharona Nicole Semilla of Marketech APAC for contributing this article

Hopefully making a ruckus, one blog post at a time!

Be sure to check out my other blog,Joe’s Journey, for selected short stories and personal insights on life and its detours.





The ‘Svedphone,’ a phone that can only call and text? Hmmmmm!

Svedka, the vodka brand, addresses both digital burnout and Y2K nostalgia with the Svedphone, a stripped-down flip phone designed to encourage real-world connection. With only call and text functions, the device playfully rejects smartphone overload in favor of being present during social moments.

Positioned as an extension of the brand’s “Fembot” platform, it turns anti-tech sentiment into a physical product tied to nightlife and festival culture. Released in limited drops, the campaign reframes “less technology” as a more social, and more fun, experience.

Svedka’s Fembot may be a robot, but she’d prefer you mostly interact with other humans.

Stripped-down flip phone designed to encourage real-world connection

Looks like “fembots” may be with us for a while. This is really going back to simplicity but how will it play in today’s smartphone environment? Will it be taken seriously by folks who want just a really simple phone or be viewed just as a promotional stunt by the vodka maker?

Who knows. The buying public can be very fickle at times.

Hopefully making a ruckus, one blog post at a time!

Be sure to check out my other blog,Joe’s Journey, for selected short stories and personal insights on life and its detours.

Creativity: Alive or Dead?

Late last year ADAge’s Tim Rudd penned an article about the alleged death of creativity. Well, some argue that its death may be premature. The campaign described below illustrates that point of view. As Tim reports . . .

Creativity may not be six feet under, but D&AD (Design & Art Direction) is still here to poke it with a stick.

The global creativity nonprofit is kicking off its 2026 award season with a global campaign from Uncommon Creative Studio that pushes the industry to stop hovering over the “think” button and start hitting “make.” Its centerpiece is a manifesto that challenges the too-common habit of watching ideas drift by rather than shaping them into something tangible. The work signals a shift toward more hands-on creative energy at a moment when the industry seems increasingly cautious.

The campaign leans on stark visuals and a single provocative question: Is creativity alive or dead? It stretches across D&AD’s awards, learning initiatives and talent effort, inviting practitioners to respond through action instead of commentary. The rollout also introduces a refreshed identity for the 2026 awards, turning the manifesto into a design brief for the entire program.

A massive Times Square billboard displays a bold message about misjudging bad adverts as the death of creativity, illuminated above the city at night.
​ (D&AD)  A massive Times Square billboard displays a bold message about misjudging bad ads as the death of creativity, illuminated above the city at night.

Alongside the identity comes the reveal of the 2026 jury presidents, a slate of creative leaders drawn from a mix of global brands and agencies such as Dentsu Tokyo, Airbnb, FCB Global, 72andSunny, Havas Health & You and others. Their remit is to steer the judging with the manifesto’s call for experimentation and decisiveness in mind. D&AD positions the jury presidents as creative figures who already operate with a bias toward making.

“Creativity doesn’t die, it drifts. It gets buried under deadlines, data and fear of taking risks,” said Lisa Smith, D&AD president and Uncommon’s global chief design officer. “This manifesto is a reminder to the industry that ideas are only as powerful as the people brave enough to make them real. As creative leaders, we have a responsibility to protect that spirit—to keep making, experimenting and proving that bold, human ideas still matter. D&AD exists to champion that pulse. To show that creativity isn’t just alive—it’s vital.”

A storefront covered in black-and-white posters displays bold gothic text declaring “Creativity is Dead” and “Creativity is Alive” alongside graphic logos.
​ (D&AD) A storefront covered in black-and-white posters displays bold gothic text declaring “Creativity is Dead” and “Creativity is Alive” alongside graphic logos.
A row of black-and-white street posters on a graffitied wall presents stark slogans about creativity and work beside the D&AD logo.
​ (D&AD) A row of black-and-white street posters on a graffitied wall presents stark slogans about creativity and work beside the D&AD logo.

This year’s D&AD awards also introduce new categories meant to reflect the ways ideas move through culture. Brand Transformation spotlights work that blends strategic thinking with the craft of execution. Cultural Influence highlights projects that shape conversation or find a place in the wider cultural bloodstream. Sports Entertainment covers creative output tied to sport from campaigns to content to fan engagement.

“Creativity today is more decentralized than ever, coming from makers, creators, in-house teams and a new wave of independent studios. Our role is to ensure all these voices are equipped and inspired to keep pushing creative excellence forward,” said Donal Keenan, D&AD’s chief operating officer. “Yet in this abundance, creativity risks becoming diluted. Brands are finding it harder than ever to cut through and truly engage audiences, which is exactly why this provocation is needed.”

D&AD is also launching an editorial hub that digs into the same big question at the heart of the campaign. The platform collects commentary from designers and advertisers who are looking at how creativity has changed in a landscape of nonstop feeds and constant distraction.

A minimalist white typographic poster lays out a manifesto proclaiming “Creativity is Dead” before urging readers to revive it with intention.
​ (D&AD) A minimalist white typographic poster lays out a manifesto proclaiming “Creativity is Dead” before urging readers to revive it with intention.

As long as there are people who continue to push boundaries, creators who are never satisfied, folks who are always curious and a consuming public who always want refreshing and innovative ideas, creativity will never die. It will always be alive and thriving.

Hopefully making a ruckus, one blog post at a time!

Be sure to check out my other blog,Joe’s Journey, for selected short stories and personal insights on life and its detours.