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Digi Nomad, Turner's Cross, Cork (2025)

09/12/2025

This year, “Christmas deliveries” get a gut-punch. 🎄🚛

Wow, this is brilliantly clever advertising! For the first few seconds, you’re convinced you’re watching a Coca-Cola Christmas advert, the familiar red trucks, the glowing lights, that unmistakable festive energy that makes all of us subconsciously start humming “Holidays are coming…” 🎶🚛

But then Save the Children US flips the script. Their new Christmas film, The One Delivery That Matters, uses that iconic visual language we’ve all grown up with to draw us in… only to reveal a powerful twist: these trucks aren’t delivering sugary nostalgia, they’re delivering life-saving aid.

It’s a masterclass in emotional reframing. By borrowing the cues of one of the world’s most recognisable Christmas ads, Save the Children taps into our automatic sense of comfort and tradition, and then redirects it toward something far more urgent. The reveal forces you to reconsider what “giving” really means during a season that often gets drowned in excess.

And the supporting insight hits even harder: while 88% of parents feel pressure to overspend at Christmas, 92% of children say they’ve received gifts they didn’t want, and 73% would willingly give up a present to help another child in need. Those stats turn the twist from clever to undeniable.

Marketing-wise, it’s precision-engineered:
✨ Instant recognition pulls viewers in.
✨ A sharp narrative turn creates emotional impact.
✨ A multi-channel rollout (film, social, OOH, tap-to-donate) turns awareness into action.

This year, Save the Children reminds us that amid all the noise, jingles and glitter, there’s really only one delivery that matters, the one that reaches a child who needs it most. 🎄✨

19/11/2025

“Grub Actually” ~ Waitrose & Partners Christmas Ad That Has Us Swooning (and Hungry)

If supermarkets made rom-coms, Waitrose just premiered Love Actually 2: The Cheese Counter Edition. Their latest Christmas advert, featuring the effortlessly graceful Keira Knightley and the wonderfully awkward yet endearing Joe Wilkinson, might just be the most heartwarming thing you see this season.

Keira stars as herself (naturally), gliding through Waitrose’s sparkling aisles with her signature elegance and playful charm. Joe, or as we’ll now lovingly call him, Joe “the Faithful”, is the everyday chap who adores food, emotions, and festive leftovers. Their eyes meet over a wedge of Sussex Charmer, they exchange a look that whispers “is this more than dairy?”, and suddenly, you’re thinking: this is the rom-com Christmas 2025 has been waiting for.

And Joe’s expression! That innocent, slightly perplexed look as he realises that cooking might just be the key to Keira’s heart, honestly, who wouldn’t melt?

Why It Works (and Not Just Because of the Brie)

1. Star Power Meets Authenticity.
Keira Knightley brings fame and nostalgia, a clear nod to Love Actually. Teaming her up with Joe Wilkinson, the nation’s lovable oddball from After Life and 8 Out of 10 Cats, blends glamour with relatability. It’s polished, yet charmingly real, pure Waitrose.

2. Emotion with a Wink.
The ad delivers heartfelt storytelling while cheekily parodying classic Christmas ad tropes. It winks at tradition without mocking it, making you feel and smile. That perfect mix of warmth and humour makes it memorable and highly shareable.

3. Food Is the Romance.
Food isn’t just the backdrop, it’s the love language. Sumptuously filmed, indulgent, and unmistakably Waitrose, it reminds us that sharing and cooking are the real heart of Christmas. It’s emotional branding at its finest: promoting connection, not just products.

4. Nostalgic Vibes with a Fresh Twist.
The music and atmosphere nod to early 2000s festive classics, while the humour and casting feel distinctly modern. Like an updated family recipe, comforting, but delightfully new.

The Final Bite

This isn’t just an advert; it’s a love story served with brie, charm, and clever brand strategy. Waitrose knows its audience: those who appreciate quality, warmth, and a dash of British humour.

Because as Keira and Joe so gently remind us, Christmas isn’t just gifts, it’s the meals, the moments, and maybe, the magic found somewhere between the crackers and the cheese board.

18/11/2025

Every year at Christmas, I make it a point to shine a light on Shelter, the UK housing and homelessness charity, because their seasonal campaigns just hit differently. The 2025 ad feels especially powerful this time, Shelter leans into voice, memory, and the frustrating reality of life in insecure temporary accommodation.

This year’s spot, titled “Earworm,” uses Bonnie Tyler’s iconic “Total Eclipse of the Heart” as its emotional core. A schoolboy hums it at school, in the lunch hall, and eventually bursts into full-throated singing. It’s joyful, innocent, and familiar. But then there’s the twist: when he comes home, we see his mother on the phone, trying to reach accommodation services. And the song? That same melody is the hold music she’s stuck on, a haunting loop, literal and metaphorical.

Shelter estimates that 84,240 families in England will wake up this Christmas in insecure, temporary housing, cramped B&Bs or hostel rooms, where basic comforts are stretched to the limit.

From a marketing standpoint, this is classic but smart charity work: Shelter uses a nostalgic, high-emotion trigger (the song) to draw people in, then gently layers in the harsh reality. The narrative structure bridges hope and despair. It creates empathy by putting a human story front and center, rather than just dropping hard stats. And by rooting it in reality (real lived experience), it boosts credibility, not just a “campaign,” but a genuine snapshot of a crisis.

But while this ad is UK-focused, the issue of housing insecurity is very much alive here in Ireland, too. Our homelessness crisis is in stark relief:
• As of March 2025, 15,418 people were recorded in emergency accommodation in Ireland, including 4,675 children.
• That marks an 11.2% increase over the past year in people relying on temporary accommodation.
• More recently, reports show the number homeless has passed 16,500, with over 5,200 children in that total.
• In Dublin alone, there are more than 1,500 families in emergency accommodation.

These are not just numbers, they represent real families, real children, and real heartbreak. When Shelter makes an ad like this, I feel it deeply, because the same undercurrents of housing injustice are felt on both sides of the Irish Sea.

In short: Shelter’s 2025 Christmas ad is a gut punch, wrapped in nostalgia, but rooted in a harsh truth. It’s the kind of philanthropy-meets-storytelling work that doesn’t just aim to tug at your heartstrings; it demands you pay attention. And in a world where the homelessness crisis is growing, creative voices like this matter now more than ever.

If you’re reading this, consider sharing the campaign, donating, or even just spreading awareness. At Christmas, a message like this carries extra weight, because for too many, there is no warm home to wake up in.

16/11/2025

“Keep Up With Reality.” 📺

In the spring of 2025, Reporters Without Borders (RSF) Sweden teamed up with the creative agency Åkestam Holst / NoA to launch a powerful, thought-provoking advertising campaign under the banner “Keep Up With Reality.” The campaign tackled a growing cultural paradox: while access to hard news has never been greater, public engagement with it is diminishing, replaced by a surging appetite for reality TV and escapist entertainment.

At its core, “Keep Up With Reality” is a call to action and a cultural warning. It confronts the you with a stark truth: press freedom only matters when people pay attention.

Visually, the campaign is striking. It juxtaposes the titles of well-known reality television shows, like MasterChef, The Apprentice, Paradise Hotel, and The Biggest Loser, with raw, emotionally intense press photography from conflict zones and crisis areas around the world. These photographs come from some of the world’s most acclaimed photojournalists, including Pulitzer Prize–winning Sergey Ponomarev and Pulitzer-nominated Wissam Nassar.

This contrast of glossy, superficial entertainment against the gravity of real-world reporting is designed to jolt you, the viewer into reflection. By placing images of real suffering and struggle next to familiar reality-TV branding, the campaign calls into question our consumption habits: how much time do we spend indulging in escapism, and how much do we devote to understanding the truths that shape our world?

According to Erik Larsson, president of RSF Sweden, the work underscores a chilling reality: “Today it’s easier than ever to avoid information … ignorance is a terrifying thing.”

Timing was also critical. RSF launched the campaign just as its annual Press Freedom Index was about to be announced, an index whose latest figures were alarming, signaling a global decline in press freedom.

Even though people have unprecedented access to news, instead they’re drawn more and more to light entertainment. By blending the familiar with the urgent, they hoped to “stop people in their tracks” and force them to reconsider their media priorities.

“Keep Up With Reality” is not just an ad campaign, it’s a moral and civic provocation. It reminds us that in a world flooded with distraction, the real stories, the difficult truths still need our attention. Because without an engaged public, the very foundation of press freedom risks eroding.

14/11/2025

Next up on my list of Christmas campaigns is a special outdoor campaign, and as promised, I'm spotlighting more charity-led campaigns this season. This time, it's the beautiful new installation at St Pancras International in partnership with Great Ormond Street Hospital and Charity (GOSH).

The station's 2025 Christmas tree is a 12-metre-tall rotating music box, themed "Powered by Dreams." What makes it so special is that it's built around the hopes and imagination of seriously ill children from GOSH, their artwork, dreams, and stories have been brought to life through glowing ornaments and a gentle rotation that fills the concourse with music and light. Visitors can even donate directly at the base of the tree, linking festive joy with meaningful action.

From a marketing perspective, this is an excellent campaign for a good cause. It's immersive and inclusive, designed with music, movement, braille details, and comfortable seating so everyone can experience it. It taps into authentic emotion by putting real children's dreams at the heart of the story, making it far more than just a festive display. The campaign also leverages its high-traffic location perfectly, transforming an everyday travel hub into a space of reflection and generosity.

What I love most is how seamlessly the charity element is integrated. It's not just a logo on a tree; the cause is the concept. That authenticity builds connection, reinforces St Pancras as a brand that stands for culture and community, and gives GOSH a powerful platform for awareness and fundraising.

13/11/2025

🥕✨ Aldi UK’s 2025 Christmas advert just dropped, and honestly, they’ve carrot-crushed it.

Kevin the Carrot is back for his tenth festive season (yes, ten years of emotional root-vegetable storytelling), and this time he’s levelling up from snowball fights to romance. The ad sees Kevin popping the question to his long-time love Katie the Carrot, with the ring delivered by their dog, Caulidog, wearing it on his collar like a furry James Bond with a Costco budget.

Of course, Aldi didn’t stop there. Part two of the saga shows Kevin’s chaotic stag do, complete with a mankini moment no one asked for, while Katie enjoys a spa day before what’s being billed as “the wedding of the year.” It’s the kind of festive soap opera you didn’t know you needed but now can’t stop watching.

And here’s where Aldi proves it’s not just funny, it’s smart. The whole thing is an episodic campaign, meaning they’re stretching the buzz across weeks instead of one ad drop. It’s brand storytelling at its best: familiar (everyone knows Kevin), emotional (aww, the proposal), and totally shareable (because who doesn’t want to see a carrot in a mankini?).

They’ve nailed the formula:
✅ Keep the beloved mascot - instant nostalgia.
✅ Add new twists - proposal, wedding, chaos.
✅ Inject humour - social media gold.
✅ Tie it into merch - from plush toys to that now-viral “carrot gold” engagement ring.

It’s not just a Christmas ad, it’s a mini-series, a PR machine, and a masterclass in how to turn seasonal advertising into full-blown cultural tradition.

So yes, John Lewis might bring the tears, but Aldi brings the laughs and the sales. Somewhere in marketing heaven, Kevin’s raising a tiny glass of mulled juice and whispering, “Mission accomplished.”

🎄🥕

12/11/2025

I’ll admit it up front: I personally cannot stand Christmas. While the rest of the world breaks out the tinsel and egg-nog, I’d rather crawl under a rock and hibernate until February. But, of course, I don’t as I live with a person who’s the complete opposite, if he were allowed, he’d be singing carols in August, putting up decorations in September and planning mince-pies by October. So yes, I’m dragged into the “festive” season despite my better instincts.

Back in my previous job we were planning for Christmas in February. That’s right, while the rest of the world was worrying about spring, we were already thinking about December. No escape. So now, every year, I concede to one little tradition of mine: I like to highlight the various from a perspective. Because although, yes, they’re all trying to sell something, I’m genuinely interested in how they do it, by tapping into nostalgia, guilt, fun, or (let’s be honest) the boring “here-have this product” route.

Over the next few weeks I’ll point out some of these adverts, dig into how they make you feel (yes, even me, the curmudgeon), and you can decide whether they’re clever emotionally or just manipulation in a festive sweater. I’ll admit: I don’t endorse many of these companies because of their business models. I’m just fascinated by the mechanics. There will also be a few charity ones in the mix.

First up: the juggernaut of seasonal adverts, the one everybody (including that overly enthusiastic partner of mine) sees as the “bell-ringer” that the Christmas season has begun. That’s the John Lewis & Partners ad.

I’ll be honest, there have been years where I’ve watched it and thought, “Wait… what is it they actually sell again?” Plus, I’ve never actually been in one of their stores.

This year’s ad is called “Where Love Lives”, featuring a dad and his teenage son connected through a shared love of music, and a vinyl record that sparks memories of the dad’s clubbing days. The soundtrack mixes Alison Limerick’s 90s anthem with a slowed-down Labrinth version, so yes, it’s a nostalgia trip with a modern twist.

The tagline: “If you can’t find the words, find the gift.” Translation: emotions are hard, so buy something. To be fair, it’s clever. It taps into nostalgia, sentimentality, and that universal parent-child awkwardness where we all mean well but rarely say it out loud. There’s even a limited-edition charity vinyl to make us feel a bit better about the consumerism.

From a marketing angle? Smart, emotional, perfectly pitched. From my personal angle? I’m still hiding under my metaphorical rock, but I’ll give them credit for knowing exactly how to push people’s emotional buttons.

So that’s round one. Over the next few weeks I’ll share more Xmas ads, the tear-jerkers, the clever ones, and the downright confusing. Let’s see which ones actually make us feel something (besides irritation).

02/11/2025

Okay, I love Columbia Sportswear’s new “Engineered for Whatever” campaign. Finally, an outdoor brand that doesn’t whisper about “connecting with nature”… it dropkicks the tent flap open and belly flops straight into the mud.

The ad gets it: the outdoors isn’t some peaceful postcard with perfect lighting and an acoustic soundtrack. It’s chaos. It’s Mother Nature waking up and choosing violence, hail, mudslides, sideways rain, and that one mosquito with a personal vendetta.

And Columbia just laughs. Their gear isn’t meditating on a mountaintop, it’s armoured up and ready for whatever unholy weather tantrum comes next. The insight that nature is out to kick your ass is so true, and the way they lean into it with humour is genius.

“This jacket is a climate denier”? Absolute chef’s kiss. Bold, funny, and perfectly self-aware. No fake serenity, no over-filtered mountain vibes, just real, messy, badass adventure.

It’s practical, it’s hilarious, and it’s the kind of unapologetic energy the outdoor world has been begging for. It’s a glorious mud-splattered masterpiece.

24/09/2025

“Our House” Just Broke My Heart – And It Should Break Yours Too 💔

Shelter’s devastating new campaign takes the Madness’ joyful “Our House”, a song that soundtracked countless childhoods, and turned it into one of the most powerful housing crisis statement ever.

The concept is haunting: Same beloved lyrics, but now they play over footage of families crammed into moldy B&Bs, children sleeping on floors, parents choosing between heating and eating.

“Our house, in the middle of our street” suddenly sounds like a cruel joke when your “house” is a single room shared by four people.
The reality this campaign exposes is brutal:

• Ireland: 15,915 people homeless (June 2025) – highest ever recorded
• That’s 4,958 children without a proper home
• Numbers jumped 12.4% in just one year

Behind these figures? A 7-year-old girl who hasn’t had her own bed in months. A working father living in his car because rent consumes his entire salary. A mother watching mold spread across walls while her toddler develops another chest infection.

Shelter’s genius lies in weaponising nostalgia. They’ve taken our collective comfort song and made it impossible to hear without thinking of those 15,915 people. It’s advertising as activism, and it’s working.
This isn’t just a UK problem. Ireland’s emergency accommodation numbers have increased by 1,537 people since February 2024. We’re moving in the wrong direction while families suffer in silence.

The campaign forces a question we can’t ignore: In 2025, how do we still have children growing up in emergency accommodation in some of Europe’s wealthiest nations?

Every time you hear “Our House” now, remember: For thousands of families, that house exists only in memory or dreams.

Time to turn our discomfort into action. Support housing charities, demand political accountability, refuse to normalise this crisis.

30/08/2025

Comfort Is Power: The Fight for Fair Sportswear in Girls’ Sport

Sports attire might seem like a small detail, but for many girls it can be the difference between staying in sport or walking away.

That’s why ASICS’s new “Undropped Kit” is so powerful. Co-designed with teenage girls, it tackles the issues that often push them out of PE, concerns about body shape, sweat marks, and period leaks. Research shows nearly three-quarters of UK girls aged 14–16 would be more likely to take part in PE if their kit was designed with their needs in mind. By making comfort and inclusivity central, ASICS reframes sportswear as something that enables, rather than excludes.

This matters because girls’ attire has long been a flashpoint. In Wexford earlier last week, a GAA club told teenage girls to “be wary of the size of their shorts” because male coaches felt uncomfortable. Parents condemned the advice as unfair and inappropriate, and the club later apologised.

At national level, the debate around camogie skorts became impossible to ignore. Players protested by wearing shorts, only to be told to change or risk match cancellation. Surveys showed 70% found skorts uncomfortable, and 83% wanted shorts as an option. After mounting pressure, the Camogie Association finally voted in May 2025 to give players the choice, an overdue acknowledgement of their voices.

Taken together, these examples show a clear truth: when girls feel comfortable in what they wear, they are more likely to play, to stay, and to thrive. The ASICS “Undropped Kit” shows what happens when you listen and design with girls at the centre. The Irish controversies reveal the cost of ignoring them.

If sport is to empower, it has to start with something as simple, and essential, as letting girls wear what makes them feel able to play.

21/08/2025

Tesco’s new back-to-school campaign proves that sometimes the simplest ideas are the most powerful. Created by BBH London, the ad takes something as practical as adjustable hems in school uniforms and transforms it into a touching metaphor for growth, change, and all the little milestones that come with a new school year.

Rather than relying on big, dramatic storytelling, the campaign is beautifully understated. A hem being let down becomes a symbol of those moments every family knows so well, the first day nerves, the proud smiles, the bittersweet excitement of seeing a child grow into their next chapter. By focusing on something so ordinary, manages to capture something truly universal and deeply emotional.

21/08/2025

’s new back-to-school campaign proves that sometimes the simplest ideas are the most powerful. Created by BBH London, the ad takes something as practical as adjustable hems in school uniforms and transforms it into a touching metaphor for growth, change, and all the little milestones that come with a new school year.

Rather than relying on big, dramatic storytelling, the campaign is beautifully understated. A hem being let down becomes a symbol of those moments every family knows so well, the first day nerves, the proud smiles, the bittersweet excitement of seeing a child grow into their next chapter. By focusing on something so ordinary, manages to capture something truly universal and deeply emotional.

Digi Nomad

09/12/2025

19/11/2025

18/11/2025

16/11/2025

14/11/2025

13/11/2025

12/11/2025

02/11/2025

24/09/2025

30/08/2025

21/08/2025

21/08/2025

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