This is the very first Cannes entry for TwentyThree, a new advertising agency from Tel-Aviv that became famous by hijacking Alex Bogusky’ Facebook page and then posting a ransom video requiring him to buy 1% of their agency!
With having got some pretty serious free publicity the world over, they have now entered this case study into the 2010 Cannes Festival.
Here is a strong example of a banner campaign that refuses to stay inside the banner frame. For Uniqlo’s end-of-year clearance push, the idea came in two parts. A blog or website widget, and a set of banners connected to a competition.
The core mechanic is simple. Embed the widget on a site, press it, and it transforms every image on that page into a Uniqlo “Lucky Ticket” that promotes the sale and the competition.
A widget is a small embeddable code block that adds interactive functionality to a webpage. In this case, it acts like a page-level switch the viewer controls, rather than a passive ad slot.
In Japan’s fast-fashion clearance cycles, speed and novelty matter, and the web is a shortcut to scale.
The outcome is the part that makes this more than a clever demo. The widget was voluntarily installed on almost 5,000 blogs and generated over 2.8 million banner clicks.
A standard banner asks for attention. Lucky Switch gives the user a satisfying action with immediate, visible impact across the entire page.
This is the mechanism to why sentence. Because the viewer controls the switch and sees the whole page change instantly, the ad feels like a game mechanic, not a media placement.
It also reframes “click” into “cause”. The click is not a request to leave the site. It is a trigger that changes the environment.
This campaign is not just chasing CTR. It is building voluntary distribution. Every blogger who installs the widget is effectively turning their own site into Uniqlo media, and every visitor is invited to interact with the brand on someone else’s page.
Extractable takeaway: Lucky Switch is what happens when you treat distribution as the product. Make the interaction so satisfying, and the reward so clear, that other sites choose to carry your campaign for you.
A widget and banner concept that turns every image on a host page into a Uniqlo “Lucky Ticket”, making the whole page behave like the ad.
A page-level switch the viewer controls. Pressing it transforms the environment immediately, so the click delivers instant visible impact before any deeper action.
Because the user triggers a change across the entire page. The interaction reads like a playful hack, not a boxed-in ad unit competing with content.
It creates a high-speed, novelty-driven route to scale through voluntary installs, while driving sale awareness and competition participation.
If you want banners to perform, make the click do something “now” in the user’s environment, not just ask them to leave the page.
As the 2010 World Cup kicks off, this TyC Sports film by Young & Rubicam Buenos Aires is built to do one thing fast: stir up Argentine fans everywhere with a burst of identity, memory, and belief.
A World Cup rally film is a piece of sports storytelling designed to compress national pride into a repeatable emotional cue. It is less about information and more about turning viewers into a synchronized audience.
In global sports media and broadcaster marketing, pre-tournament films like this work best when they feel like culture, not advertising.
The structure is familiar and effective. Start with the small details only insiders recognize. Then scale up into a collective “we”. The film keeps pulling the viewer from personal belonging into shared momentum, so the emotion arrives before the rational brain asks what is being sold.
The spot trades on lived cues. The way people speak about football. The intensity. The inevitability of hope. You do not need to explain Argentina’s relationship with the game. You only need to trigger it, and let the audience do the rest.
That is also why the film travels. Fans abroad are exactly the audience most hungry for a cultural tether during a tournament, so the message plays as connection as much as hype.
For TyC Sports, the goal is not to educate. It is to concentrate attention and loyalty at the moment the tournament starts, when viewing habits and media choices are being formed. The film frames the channel as the emotional home for the campaign, not just the place that carries matches.
It rallies Argentine fans worldwide by turning cultural recognition into shared tournament momentum for TyC Sports.
They create emotional commitment before viewing decisions harden. They make people choose a “home” for the tournament.
Specific cultural cues and language that insiders recognize. The more precise the truth, the less it feels like advertising.
Fans who are not physically in the country. They are most likely to share, and most likely to use the film as a cultural tether.
Drifting into clichés. If the cues are too broad, it becomes interchangeable with any other team’s hype video.
