Bristol creative agency SIM7 has taken home a prestigious ‘Búho’ award for Brand Strategy at Spain’s Educafestival. The agency was recognised for its work creating the Real Leadership brand campaign for IESE Business School.
The Búhos (Owls) are awarded to the best global creative campaigns in the education sector, welcoming entries from Europe, Latin America and the USA. They are part of Spain’s Educafestival, an annual event (20 June 2024) held in the Centro CaixaForum de Madrid.
Simeon de la Torre, owner and creative director of SIM7 says, “As an agency that works with higher and business education clients around the world, winning a Búho is a huge honour for us. And we did it by creating something really different with a big dollop of humour and heart.
“The Real Leadership campaign for IESE has been a huge strategic branding exercise that brought together all our skills in messaging, design and positioning. It spawned a slightly insane video featuring unicorns and gorillas that has been watched over two million times, a hit podcast, billboard ads in Germany and Spain, and more.”
The Real Leadership brand campaign was conceived as an antidote to the clichéd ‘business speak’ creative that has dominated the sector in recent years. By using an authentic narrative and tapping into the genuine concerns and motivations of business leaders, it resonated with IESE’s
core audiences and has delivered substantial results in the form of awareness, enquiries and admissions.
Oriol Gil, IESE’s Brand & Content – Senior Manager (pictured, above) says: “The world of MBA and executive education is changing fast, with a more nuanced audience profile and expectations. SIM7 created a major campaign for us that pushed the boundaries of our brand guidelines and created a completely new strategy. The Real Leadership campaign features an honest, authentic and human approach that playfully mocks the outdated ‘hustle’ culture.”
SIM7’s Búho award was judged by a panel that included celebrated Spanish film director Daniel Sánchez Arevalo, as well as creative leaders from Google, Coca-Cola and Clear Channel. The Real Leadership campaign was scored for:
• Educational value and content
• Developed strategy
• Idea and execution
• Obtained results
Says SIM7’s Simeon de la Torre, “We knew from the start that this had to be a campaign with cut-through, and that pure creativity wasn’t enough. It had to be built on the foundations of solid strategy and an understanding of the sector. This is what our team does best and it’s superb to see all our hard work recognised. On a personal level, it’s been great working on something that my Spanish father can be proud of and talk to his family in Spain about – he’s always been a bit clueless about what I do for a living!”
Notes
SIM7 is a Bristol-based creative agency that works with clients around the world in sectors including education, property, technology and more: sim7creative.co.uk
Founded in 2017, the agency uses language to empower design and drives growth by creating brands, campaigns and strategy. SIM7 currently employs six people, has increased its turnover significantly in the past 12 months and is set to build its international client base even further in 2024/25.
IESE Business School is ranked #2 in the world (Financial Times).
For interviews, quotes and further images contact: Simeon de la Torre, sim@sim7creative.co.uk
For more information on the awards, visit educafestival.org/2024-edicion (Spanish language)
What were you up to 20 years ago?
20 years ago to the day, and almost to the minute as I write, I was presenting my last show on Bristol University’s student radio station. ‘Burst FM’ was then still in its infancy, broadcasting from a converted water closet (yes, really) on the 5th floor of the students’ union building. Tight budgets and plumbing costs meant one of the toilet pans was still in-situ and, freshers being freshers, each new presenter thought they were the first and only one to try it out, live on-air. As it happened, the flush usually did still work, and I have many tapes to prove it…
Burst was a huge part of my university life and I have it to thank for all that’s followed. I’d been intent on a career in radio since developing an unlikely adolescent love of Radio 2. While at school, I began writing material for Terry Wogan‘s breakfast show and sending it in by letter or fax. This continued throughout my time at Bristol University, when my various characters and noms de plume had a daily spot on Wake Up to Wogan at 8.50am. Luckily for my cred, most of my fellow students were either still asleep or ensconced in lectures so they knew little of it.
Very few students knew about Burst, which was mostly an online-only stream at a time when that was a huge limitation to consumption! It’s hard to believe now, but live streaming was of little use to anybody in 2004; smartphones and tablets were still emerging and listening online required effort. Burst’s listening figures were often in single digits at any one time, doubling or trebling at the flick of a switch downstairs in the Union’s Cafe Zuma, where they selectively pumped out Burst to their customers. We occasionally received calls on-air, usually wrong numbers rather than from listeners, but most of the interaction came via that much missed old friend of the millennial… MSN.
The real value of Burst was for those who got involved. A tiny audience was actually a gift while we were all making our mistakes and misjudgements on-air. I had a go at absolutely everything, even running the station for a year. By the time of my final Burst show, I was already working full-time in radio. I’d had two offers from the BBC and accepted one that meant, sadly, I had to leave Bristol the moment my studies were complete. Nobody knew at the time (at either end) but some of my later shows for Burst actually came down the line from a BBC studio far away!
But, 20 years ago today, I returned to that converted blue and orange bog once more for my very last show on Burst. Following “Bye Bye Baby” from The Bay City Rollers (horrendously predictable) and a few choked words, I played out with an old weepy called “Me And The Elephant”, a song about memories we’ll never forget. Very graciously indeed, the song’s singer had also agreed to appear in person on my show. His name?
Terry Wogan.
Today, Burst is a thriving student station which is never far from winning its next award. 2024’s students are lucky enough to learn their craft in a smart studio, albeit no longer with en-suite comedy… and, of course, everybody listens online. Whether it’s the start of a long career, or a brief flirtation with something a little bit different, I bet they’ll look back with a big smile. 20 years on and some 4,500 radio shows down the line, I certainly do.
Graduate exhibition showcases Bristol’s emerging talent at the Royal Photographic Society.
Bristol Film School at boomsatsuma proudly announces the opening of ‘Blossom Season’, its 2024 Graduate Photography Showcase at the prestigious Royal Photographic Society (RPS) in Bristol, this Saturday. The exhibition showcases exceptional work from the first graduating cohort of BA (Hons) Documentary Photography and Print.
Exhibition details:
Dates: June 15 – June 30, 2024
Location: Royal Photographic Society, 337 Paintworks, Arnos Vale, Bristol BS4 3AR
Opening Hours: Thursday to Sunday 10am – 5pm
Private View and Reception: June 15th, 3pm – 7pm (please contact us for tickets)
The showcase features innovative photography on a diverse range of subjects – from sports to fashion – and demonstrates the high level of creative and technical skills developed on the course. The unique degree, run by award winning photographers, emphasises our students’ hands-on experience and industry engagement but with a strong focus on the ‘art of photography’.
Sam Fordham, Head of Photography at the Bristol Film School, says:
“It’s a privilege to see our students’ hard work and dedication culminate in this outstanding exhibition. Their ability to tell powerful stories through photography is a testament to their talent and the supportive, dynamic environment we strive to create on our photography degree.”
From Sunday 16th June, the exhibition is open to the public, offering an excellent opportunity for artists, industry professionals, and the local community to engage with the next generation of photographers. Admission is free and many of the exhibited works will be available for purchase.
Interested in Photography? Come to boomsatsuma’s open day at the Royal Photographic Society on Saturday 15th June from 1130. Talk to award-winning photography team and get a sneak preview of the exhibition.
Check out the new Photography and Print Degree .
Image Credits: Amber Mylius-King (article body -first image), Matthew Roderick (article body – second image)
In today’s digital age, a compelling online presence is vital for businesses to thrive. Your website is often the first interaction potential customers have with your brand, and first impressions matter. When it comes to web design, choosing the right partner can make all the difference. eckhoMedia stands out as a premier choice for several reasons.
Choosing the right web design partner is crucial for your business’s online success. With our extensive expertise, commitment to customized solutions, and focus on user experience, eckhoMedia is the ideal choice for businesses looking to elevate their digital presence. From comprehensive services to competitive pricing and ongoing support, eckhoMedia is dedicated to helping you achieve your web design goals. Don’t settle for ordinary, choose eckhoMedia and transform your digital presence today. Get in contact with us today to start the discussion.
Read the full article at https://www.eckhomedia.co.uk/why-choose-eckhomedia-for-your-web-design-project/
As a devoted son of radio, first lured to podcasting by the similarities, I’ve come to love spotting the differences.
The Podcast Show, last week, was a rare chance to do that on an industry-wide scale and I was among many from Bristol and the South West who flocked. This was the UK’s biggest coming together of what can sometimes feel like quite a fragmented fraternity, at least for the independent creator. The hours spent in my home studio writing, recording and editing are among the happiest of my freelance endeavours, but they are also quite isolating.
The people of podcasting have much in common with radio types, not least as so many straddle both worlds, yet the vibe en-masse is strangely different. The great Terry Wogan once described radio as “the home of the introverted egomaniac” and I relate to that entirely from my time in the industry. We’re the people you’ll always find in the kitchen at parties, quietly watching, tweeting and probably adding you on LinkedIn without making eye contact. Yet The Podcast Show was deafeningly loud at all times, people with much to say to each other. The atmosphere was strikingly friendly, welcoming and explosively sociable, perhaps in defiance of all the time we spend alone. For relative newbies like me at least, there was a sense of shared demystification, of everyone helping each other to make best sense of this wonderful craft that has landed from outer audio space…
Actually, as Bristol’s podcasters will know, so much is already understood. The podcast world is a canny fusion of marketing, PR and audio. Consequently, the industry is relentlessly driven by intelligent market research and targeted strategy, strikingly more so than the public service broadcast world I’ve inhabited for 20 years. This manifests itself as an absolute obsession with audiences, and rightly so: “Who we can serve, why and how…”, rather than “What we’d like to do…”. If you and I have ever worked together, or if we’ve had a coaching workshop together in recent months, you’ll understand why this makes me sing.
I lapped up the session ‘From Grey to Gold’ with Andy Goldsmith (from Adelicious) and Kat Farmer (from #gotthepodcast), which explained why canny podcasters should consider the over 55s. It has baffled me and angered many besides to see this growing audience abandoned by public service broadcasters, who really should be ramping up their commitment to an ageing population. We heard in the session that, not only is the older market growing in size, the over 55s hold 70% of the UK’s wealth; so it is perhaps even more perplexing that so few have seen the commercial potential of engaging them through audio. Known in the marketing world as “the blind spot”, this audience is targeted by only 3% of advertising briefs, typically health-related products, care homes and funeral plans. How crass! Among the marketing orgs represented by the speakers, 90% of briefs are targeted at 18-44 year olds, a decade adrift from those who will be spending 63p in every pound over the next ten years.
The reason cited for the vacuum (and I believe this to be true in radio, too) is that older people are not seen by the industry as a sexy audience to serve. Kat Farmer described an “echo chamber of young people in marketing talking to themselves…” and “…everyone imagining that anyone over 55 is like their nan”. We urgently need to get beyond that. I recently launched The Bus Inspectors podcast which is already thriving with older audiences. It takes a really niche subject to the mainstream – a grading scheme for the UK’s transport museums – and hopefully brings it to life with human interest stories that will light up those with curiosity. And, as I know from my work in BBC radio over the years, the over 55s are endlessly curious.
Having chosen to make The Bus Inspectors as a narrative podcast – that is, a crafted documentary rather than ‘chat show’ style – it was with some trepidation that I attended Miranda Sawyer’s session ‘Is Narrative Podcasting Dead?’. I have such respect for Miranda that, had the answer been ‘Yes, it’s dead’, I probably would think long and hard about my future. Fortunately, it was a complex but conclusive ‘No, it’s thriving… but it’s an art form… and narratives are more expensive to make… so you have to work much harder to pitch them’. This totally chimes. For many brands simply wanting ‘a podcast’, a freestyle chat is much quicker and cheaper to produce, so it’s no wonder narrative podcasts remain the exception. It’s also no wonder they really stand out and have a lasting value beyond most.
Other stand out messages came from Harry Morton, the Somerset-based CEO and founder of Lower Street Media, who talked about the importance of understanding, as a starting point, how your podcast fits into a wider landscape and ecosystem; and Fiona Fraser ‘The Podcast Expert’ whose simple message will actually be a profound revelation to many: “Your podcast is not for everyone”.
This is an industry which truly respects its audiences and is ever thoughtful about who will listen and how to reach them. No wonder it’s thriving.
Boomsatsuma is transforming Creative Industries education with the launch of Bristol Film School and Bristol Creative Technology Centre.
For the last three years, boomsatsuma has been delivering cutting-edge, industry aligned film, photography and games degrees. The next step in the region’s leading creative training providers’ evolution sees Bristol Film School become home to filmmaking and photography degrees, with Bristol Creative Technology Centre (BCTC) housing Bristol Games Studio, alongside the entrepreneurial Venture Studio.
CEO and Founder Mark Curtis says:
“Boomsatsuma has developed a reputation for changing lives. Through our innovative courses we are helping to nurture and develop highly skilled, talented young people, whether that’s at college or degree level. Our new structure focuses on preparing students for successful careers. We are committed to ensuring Bristol remains a powerhouse of creativity and we want the Film School and BCTC to become cornerstones of the city’s successful Creative Industries sector.”
Bristol Film School
Bristol Film School has ambitious plans. Dr. Susan McMillan, Executive Dean, explains why this dynamic rebranding is important for the company, the city and its students:
“The new name, Bristol Film School, says ‘what’s in the tin’ making it clearer to those who don’t know us what we do, how we do it and where. Bristol is globally renowned for its film and television production, and we are trailblazers in shaping new talent to ensure its success, working alongside our wonderful industry partners.”
Bristol-based director of Netflix hit The Crown, Philippa Lowthorpe, three-times BAFTA Award winner, sums up the mood from industry:
“Changing the name really positions boomsatsuma where it should be – as a leader in film and TV in the South West and nationally. Bristol needs its own Film School. It’s incredible we don’t have one. This is fabulous news.”
Bristol Creative Technology Centre
BCTC builds on boomsatsuma’s growing connections with the region’s creative technology sector and its’ ambition to combine degree level learning with the delivery of entrepreneurial, commercially viable projects for partners.
A key development has been the foundation of an in-house incubator, Venture Studio. Led by Richard Blows, Head of BCTC, a team of Game Art graduates and students have been engaged as freelance developers to recreate the world’s first historically accurate digital reconstruction of Hadrian’s Wall for Microsoft Flight Simulator, in partnership with Time Machine Designs.
BCTC Production Manager Mark Fisher comments:
“I had the opportunity to work on the Hadrian’s Wall project through being a boomsatsuma Game Art graduate. I started at boomsatsuma as a college student on the Games, VR and VFX course. Once I finished that I moved onto the Game Art degree and as soon I finished that I was able to start on the Hadrian’s Wall project. Being able to go straight into a job was an amazing feeling and it has been an amazing experience from start to finish.”
To find out more about boomsatsuma degrees and the opportunities available through Bristol Film School or BCTC, come along to our next Open Day on 15th June.
We are delighted to announce that new directors have been appointed to the Bristol Creative Industries board.
The five individuals will deliver additional strength and depth to the board which will hugely benefit Bristol Creative Industries, our members and the wider creative sector in the south west.
They bring a host of skills and experience including digital marketing, film production, CRM, data analysis, website marketing and creative industry education.
As we said in our new year message at the start of 2024, driving value for Bristol Creative Industries members is our top priority, and we remain committed to creating opportunities for our community to learn, connect and grow their businesses.
To continue with this mission, we have key focuses that the new board directors will help us deliver thanks to their excellent expertise and contacts. They will contribute directly to:
Our priorities also include the BCI Talent Programme which supports the next generation of diverse talent in the creative industries and is currently open for sponsorship opportunities.
The appointment of the five new board directors follows Lis Anderson and Heather Wright becoming co-chairs of BCI.
Heather Wright, co-chair of Bristol Creative Industries, said:
“We are delighted to welcome these uniquely talented, inspirational and hardworking industry leaders who have stepped up for BCI and for our sector. They will strengthen our team and make it possible for us to achieve our ambitions for members.”
Joining Lis Anderson, Heather Wright, Gail Caig, Marissa Lewis-Peart, Julian Davis and Steven Coombe on the Bristol Creative Industries board are:
Adam Millbank brings over 16 years of commercial film production experience, serving as a founding director of B Corp registered companies JonesMillbank and Nine Tree Studios.
With his roots in documentary filmmaking, Adam has honed a talent for uncovering the essence of stories, establishing profound connections with his subjects. While he remains a practitioner, he also dedicates significant time to nurturing relationships with agencies and brands, earning him a reputation as a trusted partner in the industry.
Adam now collaborates with globally recognised brands, leveraging his expertise to drive innovative projects.
He maintains a keen interest in the intersection of education and creativity, aiming to foster greater connectivity within the Bristol creative industries around film and video and create a space for collaboration through Nine Tree Studios.
Tom Harber is an experienced creative agency leader specialising in digital experiences and creative technology solutions.
Tom has held leadership positions in industry leading creative agencies across both the UK and Australia that have be recognised at prestigious awards including Cannes Lions, BIMA and The Effies. Tom eventually landed back in the South West to head up creative technology studio, Aer Studios.
Proudly B Corp Certified, Tom and his team have been ranked in the top 100 best workplaces in the UK and have recently been appointed to the BBC UX Design roster as the only agency representing the South West region.
Tom’s passion is in creating meaningful digital experiences that have a positive impact on people and planet. He believes that bringing the creative and technology sectors closer together can have a huge benefit to the South West.
Tom Bowden-Green‘s experience combines senior consultancy (10+ years) and academic leadership (10+ years), designing and delivering training to support business development and career growth in marketing. His current focus is on bringing together regional and academic expertise to support business growth within the creative industries.
Tom studied his PhD at the Digital Behaviour Lab at University of Bath School of Management. His research and teaching now focuses on applying psychology to creative processes.
His recent work at Bristol Business School includes investigating behaviour change with Bristol City Council, researching the Bristol brand with Visit West, and understanding the effectiveness of social media advertising.
Tom created and led the MSc Digital Marketing at UWE Bristol and led several successful Digital Marketing Bootcamps. He co-hosts the The Digital Behaviour Podcast.
David Darke is the co-founder and operations director of Atomic Smash, a website performance agency based in Bristol, specialising in optimising WordPress, WooCommerce and Shopify.
Since its inception in 2010, Atomic Smash has prided itself on a caring team culture, emphasising continuous learning, creativity, and problem-solving. In this role, he has been recognised for kindness in leadership by being nominated as a Kindness Leadership Leading Light.
David’s approach to business reflects a deep understanding of the web’s potential to transform how companies and individuals communicate and conduct business.
Kate Sikora is the co-founder and managing partner of Noble Performs, a digital performance marketing agency based in Bristol renowned for helping organisations achieve remarkable results.
Highly commended as the IOD Director of the Year 2023 and serving as a Taan European Governor, Kate is committed to driving excellence and innovation in the digital marketing landscape.
Beyond her professional endeavours, Kate finds joy in family life, practicing yoga, and exploring new culinary creations in the kitchen.
I have now completed my studies at Cardiff Metropolitan University! My final project involved creating a mixed media animation, laser cutting to create 3D models, and projection mapping.
All of this came together to create an immersive installation which will be open to the public at the Graduate Degree Show on the 7th of June, at Cardiff School of Art and Design. I warmly invite you to come along and see it for yourself – me and my course mates have been working very hard to produce our final outcomes and there’s a lot of amazing art and design to see! I am planning on moving to Bristol within the next month so I would love to meet and talk to other creatives in the area. I’ve included a link to my project trailer so you can get a glimpse of what is to come…
Project trailer: https://youtu.be/zGZsXJmkR8E?si=ziiGmlFfYdZm52vO
Find out more about the exhibition here: https://www.cardiffmet.ac.uk/artanddesign/Pages/CSAD-Summer-Show.aspx
In the dynamic world of experiential design, the integration of neuroscience represents a unique opportunity where science and creativity can combine to help elevate immersive experiences.
To dive deeper into this fascinating subject, we sat down with Katherine Templar Lewis from Kinda Studios, a women-led neuroaesthetic studio and lab using neuroscience to prove the power of art on human connection and wellbeing. Working with brands, experience designers, platforms and institutions, Kinda turns neuroscience into felt experiences to deepen their impact on a range of interconnected health measures.
With a wealth of expertise in crafting immersive environments that resonate with audiences, Katherine offers her insights into how experiential designers can harness the power of neuroscience to enhance their design practices.
Katherine, can you give us a quick overview of what exactly Neuroaesthetics is?
Sure, so neuroscience is the study of the nervous system, including the brain, spinal cord, and peripheral nerves, and how they influence behaviour and cognitive processes. It explores the intricate workings of the brain’s neurons and neural circuits to understand how information is processed, emotions are generated, and actions are coordinated.
Neuroaesthetics, is a new branch of neuroscience that our work centres in, which studies how different elements affect our environment, be it light, sound, art, nature itself, impacts our brain and body.
It delves into the aesthetic underpinnings of emotion, thought and behaviour, providing insights that can inform various fields, including design. At Kinda Studios, we see neuroscience as a valuable tool for understanding human perception and emotion, allowing us to create immersive experiences that resonate deeply with our audience.
Can you give examples of how Neuroaesthetics influences your design decisions?
Neuroaesthetics serves as a toolbox for us at Kinda Studios, providing valuable mechanisms that we can leverage to enhance our design decisions. While neuroscience doesn’t hold all the answers, it offers insights that allow us to tap into the power of creative difference. For instance, we utilise colours and sounds in design that have an affect on our nervous systems, either positive or negative. Understanding how they can evoke specific emotions and drive behavioural responses allows us greater intention in our designs
By harnessing the power of art and sensory experiences, we create immersive environments that stir emotions and engage visitors on a deeper level. This approach not only elevates the overall design but also enables us to create social impact through values like environmental stewardship through experiential storytelling. Neuroscience empowers us to create meaningful experiences that resonate with people’s feelings and drive positive behaviour change.
How can neuroscience improve the overall quality of immersive experiences?
Its influence extends beyond sensory stimulation; it facilitates a deeper connection and understanding of our own selves within immersive experiences. By delving into our innate desire for coherence and connection, neuroscience enables us to craft experiences that resonate deeply with visitors. We recognise that while we experience spaces every day, often without conscious control, immersive experiences offer a unique opportunity to intentionally shape those encounters. We see ourselves as privileged to create spaces where visitors can transcend their everyday reality and be transported to other worlds, fostering a profound sense of connection and engagement with impacts that lingers long after the experience ends.
What advice would you give experiential designers wanting to incorporate neuroscience into their projects?
My advice would be to seize the opportunity to deepen your understanding and leverage this knowledge to elevate your creations. Fortunately, neuroaesthetics is now offering a wealth of resources to learn from and explore. In parallel, technological advancements are ushering in a new era where we can really harness and utilise scientific insights into experiences to deepen their impact. By leveraging this technology with neuroaesthetic knowledge and insights, you’ll be better equipped to deliver immersive experiences that resonate on a profound level.
Now more than ever is an appetite for transdisciplinary collaboration. The work we do is not just to translate but also to connect. Collaborating and exchanging ideas with both fellow designers and scientists can provide valuable perspectives and inspiration for your projects.
One resource that we often recommend is the book “Your Brain on Art: How the Arts Transform Us” by Ivy Ross and Susan Magsamen. In this book, Susan Magsamen delves into the fascinating intersection of neuroscience and art, exploring how artistic experiences can profoundly impact our brains and lives. It’s a captivating read that offers valuable insights into the power of creativity and its effects on the brain.
By immersing yourself in resources like this and actively engaging with the neuroaesthetics and studios like ours, you’ll be well-equipped to infuse your experiential designs with a deeper understanding of the human mind and emotion, ultimately creating more impactful and meaningful experiences for your audience.
What challenges have you faced using neuroscience within design? And how did you address these?
Incorporating neuroscience into design presents exciting opportunities for world-building and creating immersive experiences. However, we’ve encountered challenges when certain environments don’t align with neuroscience principles. For instance, hospitals and schools often prioritise functionality over emotional well-being, hindering our ability to create truly immersive experiences.
In hospitals, the focus on efficiency and sterile environments can be at odds with the nurturing and healing aspects that neuroscience suggests are beneficial. Similarly, schools face constraints due to limited space and the need to accommodate large numbers of people, making it difficult to implement neuroscience principles effectively.
External factors like noise pollution from motorways and heavy traffic pose challenges beyond our control. Despite these obstacles, we address them by adapting our designs to work within the constraints of the space. Neuroaesthetics research and studios like Kinda Studios are helping in transforming these spaces for greater positive impact.
We also have an in situ lab that uses neurophysiological equipment to test and explore the impact of different environments on our brain and body. The more that this work becomes a two way dialogue between science and art the further both fields can grow and the greater the positive impact we can create.
While challenges exist, they can help to fuel creativity and drive to find innovative ways to integrate neuroscience into design, even in less-than-ideal circumstances. By embracing these challenges, designers can continue to push the boundaries of immersive experiences and create meaningful connections with audiences.
What methods do you use to measure the impact of neuroscience within designs?
Yes, we use a variety of methods to measure the impact of neuroscience within our designs. This includes utilising advanced technologies such as brainwave monitoring (EEG), electrocardiography (ECG), and gamma wave analysis to gather quantitative data on neural and physiological responses to our experiences. Additionally, we rely on self-report measures to capture subjective feedback from participants, allowing us to understand their emotional and cognitive reactions.
What do you see as the future of neuroscience driven-design and how do you think it will affect the design/event industry?
The future of neuroscience and neuroaesthetic-driven design holds immense potential to revolutionise the design and event industry. As we continue to embrace science-informed design practices, we’ll see a shift towards creating experiences that are not only aesthetically pleasing but also deeply resonant on a cognitive and emotional level. Neuroscience insights will guide us in crafting environments that prioritise human well-being and connection, with an emphasis on integrating elements of nature to enhance mental and emotional health.
VOOM Nutrition sets out to celebrate the power of plants in its launch campaign for POWR, its vegan sports endurance bar.
Developed by leading creative agency McCann Bristol, ‘The Climb’ is a cautionary tale that follows a free climber preparing to tackle ‘the Big One’, an ominous, vertical rockface that he’s always been fixated on. The film is shot with the same intensity as an epic sports documentary but ends with a ‘dark humour’ twist that viewers don’t expect, tying into the campaign line: ‘Never underestimate the Power of Plants.’
“We’re a challenger brand in sports nutrition, a category that can often take itself quite seriously,” explains VOOM CEO Robin Higgens. “While we’re serious about creating our plant-based products, our team and our customers are outdoor enthusiasts who enjoy the unpredictability of nature, something McCann has expertly captured in the film.”
McCann Bristol’s Executive Creative Director, Zane Radcliffe adds: “Humour doesn’t often find its way into health and nutrition, so it’s been a breath of fresh air to write and shoot this, and to work with a bold client who understands that you don’t always have to land the brand in the first six seconds. The joy of this film is in its restraint. The product is the punchline, which makes it all the more powerful – never underestimate the power of funny!”
Launching earlier this month across social platforms, the film was directed by Olivier Richomme at Chief, and stars GB climber and Men’s Boulder medallist, Louis Parkinson, continuing VOOM’s collaboration with elite athletes.
“The team at Chief have been an inspiration,” explains Radcliffe. “In true documentary fashion they’ve worked wonders with a modest budget and a skeleton crew to deliver a mini epic.”
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