What's Next – Leaseplan Future Mobility | Clapboard Ad Archive

No More Nice Car - Nissan | Clapboard Ad Archive

With No More Nice Car, Nissan and Huskies mount a bold assault on embedded negative preconceptions that long plagued the Micra, decisively repositioning the 2017 model within Ireland’s automotive conversation as a car of charisma, self-assurance, and unexpected bite. The film, which rapidly secured over 135,000 views, pivots on a single, potent proposition: the all-new Micra is through accommodating the shallow dismissals of its past, and ready to assert itself with a redesigned exterior, intelligent feature set, and responsive performance tailored for modern drivers. Rather than relying on didactic demonstration or spec-sheet theatre, Huskies leverages the symbolism of fighting spirit through the campaign’s protagonist — a young Taekwon-Do competitor whose real-world credentials serve as a natural complement to the Micra’s own journey from underestimation to proof of substance. This central narrative, threaded through a palette of moody visuals and underpinned by Anna B. Savage’s evocative score, layers emotional gravitas atop the vehicle’s tangible upgrades, crystallizing the core message: stereotypes are due for demolition, and the Micra is leading the charge. In what Clapboard’s taxonomy would classify as FORMAT#9 — Symbolize the Benefit, the choice to render the car’s transformation through allegory and attitude, rather than literal product claims, delivers both marketing clarity and cultural resonance. The campaign extends its narrative through digital assets and behind-the-scenes content, deepening audience connection and reinforcing Nissan’s commitment to championing fresh perspectives, not only in product design but also in creative talent, as evidenced by Huskies' platforming of emerging contributors. The market category’s typical reliance on technical prowess is subverted here in favor of an identity-driven, multi-layered storytelling approach that encourages consumers to reconsider not just the Micra, but what a small car can represent. Clapboard rates this 70/100. In foregrounding transformation rather than specification, No More Nice Car challenges automotive marketers to root relevance in attitude as much as innovation.

The encounter - Mercedes | Clapboard Ad Archive — archive collection thumbnail

The encounter - Mercedes | Clapboard Ad Archive

Mercedes-Benz and BBDO Paris brought a dose of cinematic wonder to the automotive category in France with The Encounter, a film campaign launched in 2017 that reimagines car advertising through the aesthetic language of childhood fantasy films. Tasked with spotlighting the advanced Mercedes Me services and the E Class Wagon, the agency eschewed conventional product demonstration in favor of a narrative centered on a group of children who are inexplicably drawn to their neighbor’s enigmatic Mercedes — a storytelling approach that taps deep into the cultural memory of magical, Spielbergian adventure and discovery. The result is a brand communication that emphasizes emotional engagement, subtly framing the presence of cutting-edge technology within a world of youthful curiosity and nostalgia rather than explicit technical boasts. This alignment sits squarely in what Clapboard’s taxonomy classifies as FORMAT#12—Parody or Borrowed Format, as the campaign deliberately borrows from the tropes and visual language of beloved coming-of-age fantasy films to situate Mercedes-Benz and its smart connectivity services as objects of fascination and aspiration. By internalizing the film’s production, BBDO Paris ensured a stylistic continuity with previous successful collaborations—demonstrating the value of integrated agency direction in safeguarding both quality and original vision across campaign iterations for this market. The strategic online release at the New Year engaged a digitally native audience when attention was primed for renewal and aspiration, signaling Mercedes-Benz’s commitment to technological leadership and emotive storytelling in equal measure. In a category that often defaults to rational demonstration or luxury codes, The Encounter stands out for constructing product desire as an instinctive response to narrative allure, reinforcing Mercedes’s positioning at the intersection of innovation and desirability. Clapboard rates this 63/100. By translating fantasy film genre cues into brand communications, this campaign signals that the future of automotive marketing may depend as much on imaginative context as on the featuresheet.

Life hacks - open bottle with paper, Life hacks - cool do... - Statoil | Clapboard Ad Archive — archive collection thumbnail

Life hacks - open bottle with paper, Life hacks - cool do... - Statoil | Clapboard Ad Archive

Statoil’s 2015 Life Hacks campaign, developed by Made.For.Digital with SMFB, brings the Scandinavian energy giant’s brand promise to the fore through a digital series crafted for Europe’s summer circuit and the distinctive demands of the automotive sector. The campaign anchors itself in the Keep Summer Going initiative, translating the Statoil brand from fuel forecourt to an enabling, everyday companion via practical road-trip problem solving set on the iconic roads of Ibiza. What distinguishes this work within the industrial space is its embrace of what Clapboard’s taxonomy identifies as FORMAT#1—Demonstration, as each asset directly showcases simple yet ingenious life hacks, such as opening a bottle with paper or cooling down drinks, all designed to alleviate familiar travel irritations. The execution mirrors contemporary digital behavior: ten punchy 45-second videos, two lighthearted cartoon animations, and an array of social-ready Facebook images follow a couple whose journey is studded with relatable micro-challenges. Rather than force a heavy-handed brand message, Statoil uses these bite-sized stories—themselves highly transferable across the brand’s eight European markets—as both content marketing and a subtle brand proof point: here is a fuel provider that not only sustains mobility but anticipates the everyday needs of its customers, effectively reframing convenience as a brand equity. By choosing English and visual storytelling, the content achieves a universal accessibility enabling individual markets to localize seamlessly, amplifying creative efficiency and ensuring resonance at a granular level. The campaign’s creative restraint stands in notable contrast to high-gloss, product-centric efforts common in the automotive and industrial categories; it teases relevance out of the mundane, embedding Statoil in the travel experience through direct, practical value. The strategic use of demonstration over metaphor or testimonial not only cuts through cluttered social feeds but also carves out a unique associative space for Statoil, far from category clichés about horsepower and infrastructure—here, brand salience emerges from moments of small, personal triumph on the road. As the sum of its animated, video, and static components, Life Hacks not only fuels cars but invigorates a modern, mobile summer lifestyle, reflecting a nimble understanding of content’s role in both culture and commerce. The campaign earns 57/100 in Clapboard’s global creative archive. In a category often slow to evolve beyond product utility, Statoil’s Life Hacks signals that the strongest industrial storytelling builds brand affinity by giving consumers tools that genuinely enrich their everyday journeys.

Ads that make me mad - KIAF | Clapboard Ad Archive — archive collection thumbnail

Ads that make me mad - KIAF | Clapboard Ad Archive

Ads that make me mad is a 2013 campaign crafted by Banda for KIAF, the Ukrainian advertising festival whose role in the professional services sphere is to provoke industry-wide reflection rather than consumer call-to-action, and it does so here through a sharply observed film montage that finds its creative footing in satire. Eschewing the tried and tested trappings of automotive marketing, Banda leans into what Clapboard’s taxonomy would classify as FORMAT#12—Parody or Borrowed Format, hijacking recognizable pop culture and genre cues to lampoon the clichés and persistent irritants of advertising as an institution. The spot operates on a meta level: rather than celebrating the salesmanship of ads, it catalogues the familiar frustrations they spawn, leveraging exaggerated reenactments to render a biting commentary on the ways marketing missteps infiltrate the audience’s psyche. Its intentional in-joke tonality feels laser-targeted to industry insiders and creative stakeholders, acknowledging shared exasperations over formulaic ad logic while implicitly challenging the creative community to do better. By abandoning linear storytelling for an energetically cut montage structure, Banda marshals familiar tropes—overzealous voiceovers, heavy-handed product shots, ludicrous claims—distilling them to their most absurd essence and weaponizing them for critique. The absence of a product demo or direct brand benefit marks a striking divergence from category convention in automotive and professional services, bringing KIAF’s function as a forum for creative standards and discussion to the fore. Presented in English and pitched at a global peer group, the spot values participatory self-awareness over plain promotion, inviting viewers to share in an industry-wide moment of wry self-recognition and debate about what makes advertising work—or fail. Clapboard rates this 72/100. In challenging its own audience to reflect on what inspires animosity toward advertising, this campaign underscores how the most effective creative work is willing to confront—and laugh at—the industry’s own worst habits, signaling a continued appetite for category-savvy, self-critical communication.

Campaign Proposition

The 2017 LeasePlan campaign "What's Next," featuring automotive expert Richard Hammond, positions the brand as a forward-thinking leader in the evolving landscape of mobility. By focusing on a cinematic vision of future transportation, the campaign communicates LeasePlan's commitment to innovation and adaptability, emphasizing its role in shaping and supporting new mobility solutions beyond traditional car leasing. The underlying brand proposition suggests that LeasePlan is not just a service provider but a partner ready to navigate the changing automotive environment alongside its customers. Strategically, the campaign leverages the credibility and appeal of Richard Hammond to engage an audience interested in automotive trends and the future of transportation. This creative angle capitalizes on Hammond’s expertise and public persona to lend authenticity and curiosity to the message, effectively capturing the attention of both industry enthusiasts and general consumers intrigued by technological advancements. By situating the narrative in the Netherlands, a market known for progressive mobility initiatives, the campaign aligns LeasePlan with innovative urban transport developments. The film medium and cinematic approach serve to elevate the brand’s storytelling, making complex future mobility concepts more accessible and engaging. Overall, the campaign connects with an audience seeking reassurance and leadership from their mobility partners amid rapid change, framing LeasePlan as an informed and proactive player in an increasingly dynamic automotive market.

Creative Device

FORMAT#8 ONGOING CHARACTERS OR CELEBRITIES — Uses a recurring personality or celebrity for brand recall. This campaign centers on TV celebrity and car expert Richard Hammond, as clearly highlighted in the YouTube metadata and campaign description ("starring Richard Hammond and LeasePlan!"). The creative hook is not a story arc or problem-solution scenario, but rather the deployment of a well-known automotive celebrity to build credibility, engage the automotive-minded audience, and foster brand connection. The narrative asset is Hammond himself, whose established persona lends trust and attention to Leaseplan’s "vision of the future of mobility." No narrative cues suggest symbolism, comparison, exaggerated benefits, or testimonial directness; instead, the campaign heavily leverages Hammond’s recognition and expertise, making "Ongoing Characters or Celebrities" the best-fit classic format. ADVERTISING FORMATS EXPLAINED: https://www.clapboard.com/blog/branding-and-advertising/brand-strategy/12-advertising-creative-formats

Competitive Planks

Athlon – Athlon positions itself as a sustainable mobility partner, focusing on flexible lease solutions and innovative fleet management services that emphasize environmental responsibility and cost efficiency for businesses looking to future-proof their vehicle fleets.

Alphabet – Alphabet differentiates through its strong emphasis on digital fleet management tools and data-driven solutions, enabling clients to optimize vehicle usage and reduce costs, while promoting sustainable mobility through electric and hybrid leasing options.

Arval – Arval focuses on tailor-made leasing and fleet management services, leveraging international expertise and customer-centric solutions to provide flexibility, cost control, and comprehensive support, appealing primarily to corporate clients seeking scalable mobility solutions.

LeasePlan Bank – LeasePlan Bank extends the core leasing business by integrating financing products and digital platforms, positioning itself as a full-service mobility provider that enhances customer experience through transparency and streamlined contract management.

Volkswagen Pon Financial Services – This competitor leverages its direct link to the Volkswagen Group to offer competitive leasing options, emphasizing brand loyalty, wide model availability, and attractive financial solutions tailored to both private and corporate clients seeking reliable and cost-effective mobility.