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Under Armour Announces Droga5 Is Officially Its First Agency of Record

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Under Armour announced today that Droga5 will be its first-ever agency of record. 

The relationship between the two began in September 2013 when Under Armour tapped Droga5 to handle work for its women's business. From there, the agency created the viral "I Will What I Want" campaign, first featuring Gisele Bündchen and then starring Misty Copeland. Since its debut, the campaign has won Droga5 two gold lions and a Cyber Grand Prix at Cannes, a gold Effie, three gold ADC Cubes and other awards.

In recent months, all signs pointed to a growing relationship between the agency and the fitness brand, with Droga5 pushing out work for categories outside the women's sector. A spot for Under Armour's training category starring Stephen Curry, Jordan Spieth, Tom Brady and Misty Copeland debuted this summer. Droga5 also produced work for the brand's soccer unit with "Slay Your Next Giant" in September and for Under Armour Basketball starring Curry and narrated by Jamie Foxx.

"David Droga is a true visionary and is fearless in his pursuit of culturally impactful creative. He and his team at Droga5 have been true partners in helping us elevate and express our own brand story, as we look to inspire athletes all over the world. Together, we have created iconic work and look forward to many more chapters to come," Under Armour founder and CEO Kevin Plank said in a statement.

With this latest announcement, Droga5 will add nearly all off Under Armour's categories including training, basketball, running, global football and connected fitness. It will not, however, work on American football at this point.  

"Our relationship with Under Armour and its founder, Kevin Plank, is one built on mutual respect and shared values—great ambitions, producing the best product and a desire to win," Droga5 creative chairman and founder David Droga said in a statement. 


How 'The Martian' Director Ridley Scott Is Shaking Up Movie Marketing

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More than three decades ago, Ridley Scott's 60-second ad for Apple, "1984," shook up advertising forever and helped establish the Super Bowl as a destination for the most ambitious marketing campaigns. Now, the Oscar-nominated director of Alien and Gladiator wants to rewrite Hollywood's marketing playbook. With his latest release, 20th Century Fox's The Martian, Scott went beyond the usual mix of trailers and TV spots, producing, with his content marketing agency 3AM, digital shorts that immersed audiences in the world of the film. At the same time, it was important to "bring brands in early enough [so the agency] could make sure that their brand story fit with the story that we were telling," said Jules Daly, president of RSA films and 3AM managing partner. An ad created in partnership with Droga5 and Under Armour centered around The Martian's main character (played by Matt Damon). Meanwhile, National Geographic Channel devoted a mini-episode of its StarTalk with Neil deGrasse Tyson to the movie's Mars mission. Scott talked to Adweek about marketing the modern blockbuster and whether he would ever do another Super Bowl commercial.

Adweek: Marketing for The Martian included elements that aren't typically part of a film's promotional push. Why is that?
Ridley Scott: Well, what we've had with The Martian was an incredible palette between the drama, the humor, the visuals, the amazing cast and the reality of the situation. We always want to find a way for people to dig into all of this, to understand the arena they're going to experience and find out what's in store before you get to the theater but without spoiling the story. There's nothing worse than a three-and-a-half-minute trailer that shows the whole story. We did a series of short films on Prometheus and The Counselor, and those two experiences, to me, seemed to be a very sound way of beginning an advertising campaign and creating awareness. I've frequently found that if you start too soon with trailer materials, you run out of things to say. I think now, with all of the new technology available to the audience, saying the right thing at the right time is more important than ever before. And if we can achieve all of this with a mind toward finding fundamentally new ways to tell or extend our stories, I think that's where success lies.

What does its success mean for directors and movie marketers?
I've always found film advertising to be very difficult. Going back to Alien, I've tried to work with people that can think unconventionally about these problems and, most importantly, that understand directional thinking. This is the same approach I carry through the filmmaking process. You have to find the central idea and not drift from it. I think the earlier we can start to define our marketing goals and have those inextricably linked to the core idea of the film, the more powerful the advertising can be. And I think the complexity of advertising a film today is so problematic, you need to have highly creative people involved early enough that can solve all of this.

        

Alien (1979) is one of Ridley Scott's greatest hits, along with The Martian (2015) and "1984."  

So do you think we'll see more experimental marketing for films?
I don't see why not. There are massive changes happening in entertainment at the moment, and we need to find new ways to get our content in the hands of the audience and get them excited to come out to the theater. I don't think the answer is putting out five trailers and giving away the entire story. People don't want to be bullshitted. Show me what I'm going to get in the theaters, but entertain me, and try to be clever about it. That's all they have time for.

Where do you see branding and the film business intersecting in the future?
There has always been a relationship between advertising and film. Why shouldn't that continue to evolve? I think both of these worlds keep moving closer together, and the audience has more power in choosing what they want to spend time with, so it better be good. Films are an excellent way to connect with people through something they care about.

Your "1984" spot for Apple has been credited with changing how consumers watch the Super Bowl, that it could be something to watch for the ads. What are your feelings about that ad now?
I'm proud of that spot. It all came from a single idea and the decision to not just feature the product but to communicate what Apple stood for. It was my job as the director to interpret that and deliver it as visual entertainment. All of the best advertising to me feels like entertainment. I look at commercials like films. That's how I made them. It was a formidable approach … still is today. It's all about great writing and great entertainment. Nothing like great writing.

Would you ever want to do another Super Bowl spot?
I would love to do a Super Bowl spot again. It would have to be epic on every level.

What's your favorite ad?
Oh, there are so many. I've always loved the medium [of advertising]. I do love "Just do it." Great copy and a great life message. As I said before, great writing.

This story first appeared in the Dec. 7 issue of Adweek magazine. Click here to subscribe.

5 Ways Marketers Are Already Putting Sensors to Work

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For tech-savvy marketers and brands, sensors are bound to be big business—once everyone has figured out what to do with them.

According to branding and marketing experts, we're still in the early days for sensors, which are devices that detect or measure a physical property and record or respond to it in some way. If that sounds vague, that's because it is; sensors are part of wearables, smartwatches, beacons, smartphones and virtual reality–all of which will be on display at this week's Consumer Electronics Show in Las Vegas. Think of sensors as the eyes and ears of computers.

The perk for marketers, of course, is that all of these various sensors collect data, and lots of it.

"Advertising has always sought to change or build someone's emotional response to a brand," said Ben Samuel, marketing technology director for PHD. "With the data that sensors can produce, there's a real possibility that emotional response can be reliably inferred or even targetable in the future by using combinations of heart rate, temperature and skin changes."

This has already played a role in how marketers are producing live events, which is where marketing and branding experts agree sensor-based marketing efforts will be focused in 2016. For example, Mindshare has used sensors for clients like Jaguar. The agency got 20 consumers to wear biometric cuffs, which measure heart rate, motion and audio levels, during last fall's Wimbledon. By gaining insight into the "stimulation and emotion," they were able to gauge "crowd reaction," said Jeff Malmad, Mindshare's managing director and head of mobile. That data was then pushed out through social media for Jaguar's #FeelWimbledon campaign and upped consumer engagement on social media channels nearly 12 percent.

Still even as marketers find success, some are skeptical of sensors' current applications. Ian Schafer, CEO and founder of Deep Focus, which has used similar live-event tactics for clients like Pepsi, believes there's "a lot of promise [with sensors]" but "not a lot of substance" yet. "There's been a little bit of progress with Internet of Things-type stuff," said Schafer. "But from a wearables perspective—where I think some of the most interesting sensor stuff can happen—we're still in that intermediate awkward stage where we're trying out technologies that mimic the end state that we're not quite ready to get to yet."

Ready or not, here are five ways marketers are using sensors today:

Fitbits and Other Wearables

By tracking biometrics, like someone's heart rate or how many steps he or she is taking, wearables can play a big role in event-based sensor marketing, like Mindshare's #FeelWimbledon campaign. That's where marketers and brand experts agree sensor marketing will take hold in 2016.

Clothing

Clothing with sensor technology is still nascent, but major apparel brands like Under Armour, Ralph Lauren and even Levi's have been working to develop their offerings. "The structure of textiles is the same as the structure of touch screens which we're using in everyday mobile devices and tablets," said Ivan Poupyrev, founder of Google's Project Jacquard (which Levi's is a part of), in a video last May introducing the project that is meant to figure out how to weave technology into fabric. "That means that if you just replace some of the threads in the textiles with conductive threads, you should be able to weave a textile which can recognize a variety of simple touch gestures, like any touch panel you have on a mobile phone."

Beacons

Beacons, or location-based sensor technology, like Estimote's wireless hardware, allow marketers to pinpoint where consumers are and to send push notifications of sales and recommendations to their smartphones. Target in August began testing Swirl beacons in 50 of its stores. "The great potential of beacons in retail is to finally unite our twin retail identities—our physical self and our digital self," said Andy Hood, head of emerging technologies, AKQA.

Apple Watch

With the arrival of the Apple Watch 2.0, which is rumored to have a March release date, marketers expect to create experiences designed solely for the watch's capabilities. While currently the Apple Watch measures data similar to wearables such as Fitbits, Mindshare's Malmad noted that it's "from a sensor-based scale, [on] the front line of technology." Derek Fridman, group creative director for Huge, agreed. The creative agency opened a coffee shop in September that works as a test kitchen for the shop's use of sensor technologies, and it has been using the Apple Watch to track its employees' heart rate to figure out when they are busiest, which "is helping them do their jobs better," said Fridman.

Virtual Reality

Thanks to sensors, brands like American Express and Volvo are experimenting with virtual reality. Publishers also have signed on, including The New York Times, which partnered with Google Cardboard to send readers on VR tours of New York and war-torn regions. By tracking head movements, sensors enable the immersive VR experience.

This story first appeared in the Jan. 4 issue of Adweek magazine. Click here to subscribe.

Under Armour's New HealthBox Fitness Tool Combines a Scale, App and Wearables

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Under Armour wants to prove that it can play alongside the big sports and tech brands, and the apparel brand is making its first foray into fitness tech and wearables to prove it.

At CES,  Under Armour debuted a new technology product called HealthBox. The program includes three devices—a WiFi-enabled scale, a fitness band and a heart rate tracker—that feed into a mobile app. The kit monitors the user's sleep, fitness, activity and nutrition, and the app pulls all of the data together, promising to give consumers a comprehensive read of their health.

The set of devices retails for $400 and is available online for pre-order before it becomes readily available on Jan. 22.

This week's tech push is a new space for the brand, which is more well known for specialized athletic clothes and gear (not to mention empowering ad campaigns with Gisele Bündchen and Misty Copeland). But as health/wellness has become a bigger issue for the everyday consumer, Under Armour is expanding into new niches.

"There is a huge portion of our community that is really focused on a healthy lifestyle—food is fuel for them instead of being about calories, and sleep is a really important part of it," Jim Mollica, Under Armour's vp of digital marketing, told Adweek. "This becomes the natural progression of [Under Armour] doing that."

HealthBox has been in the works for the past few years. According to a recent Inc. article, Under Armour has plunked down $1 billion in the past two years to acquire mobile apps like MapMyFitness and build the tech that powers the fitness kit.

Under Armour faces increasing competition in the fitness wearable space. More than 470 exhibitors at CES this week are hawking fitness and sports technology, and every major athletic brand is making inroads with wearables and other connected devices. New Balance is touting 3-D printed shoes this week, and Nike recently received a patent to make a smart shoe with a built-in fitness tracker.

Still, Mollica contended that Under Armour's approach has a chance at standing out because it collects data from multiple devices. And the more data consumers provide, the better the technology works. Eventually, Under Armour will be able to recommend personalized workout and meal plans from HealthBox for its registered users.

"What's failed in the past is regurgitated data," Mollica said. "Now, we're giving you deep insights with comparisons and [information] to optimize your health."

Under Armour Showcases Sheer Strength and Dedication of the U.S. Women's Gymnastics Team

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In case you weren't aware, the U.S. women's gymnastics team is comprised of some seriously tough young women. And Under Armour's latest ad shows just how talented and insanely strong they are, depicting gymnasts in a different light than viewers may be used to seeing them.

The new 90-second spot, which is part of Under Armour's "Rule Yourself" campaign, follows team members as they train in the early hours of the morning and late at night, all in preparation for this year's Summer Olympics in Rio.

Most of the women on the national team are under the age of 20, but rather than hanging out with friends, going to the movies or dating, they're perfecting their handstands, effortlessly climbing ropes and bending their bodies in ways that seem impossible. The tagline, "It's what you do in the dark that puts you in the light," aims to illustrate that these athletes will work day and night to prepare for battle.

"As a company built by athletes, we truly understand an athlete's never-ending quest to reach greatness, and we want to showcase and honor their sacrifices," said Under Armour svp of global brand marketing Adrienne Lofton in a statement. "By providing this peek behind the curtain of our athletes' lives, we hope to inspire young athletes all over the world to push beyond their perceived limitations in order to achieve their ultimate goals. We truly believe it's what athletes do in the dark, when no one is watching, that ultimately puts them in the spotlight they deserve." 

The spot, created by Droga5, is similar to previous work for the "Rule Yourself" campaign, which in the past has tapped celebrities including Misty Copeland and Stephen Curry. It once again focuses on the immense amount of training athletes put in every day and emphasizes their strength.

It's clear from watching gymnasts compete on TV that it takes a lot of skill and practice to fling their bodies between the uneven parallel bars or hold up their entire body weight on the balance beam, but during competitions, viewers see the gymnasts' perfected routines, the perfectly pinned-back hair and the sparkling leotards. What they don't see is what leads up to that: the late-night practices, long bus rides and ice packs strapped to ankles.

Another ad rolls out this week that features Dutch football star Memphis Depay. The campaign will culminate in March with a short film starring American swimmer Michael Phelps. 

CREDITS
Client: Under Armour
Campaign: It's What You Do In The Dark, That Puts You In The Light

Agency: Droga5 NY
Creative Chairman: David Droga
Chief Creative Officer: Ted Royer
Executive Creative Director: David Droga
Group Creative Director: Tim Gordon
Creative Director: Alexander Nowak, Felix Richter
Copywriter: Toby Treyer-Evans, Laurie Howell
Art Director: Toby Treyer-Evans, Laurie Howell 
Design Director: Cynthia Ratasbouth 
Chief Creation Officer: Sally-Ann Dale
Head of Broadcast Production: Ben Davies
Executive Producer: Adam Perloff
Head of Interactive Production: Niklas Lindstrom
Head of Art Production: Cliff Lewis
Senior Art Producer: Julia Menassa
Senior Print Producer: Alyssa Dolman
Retouching Studio Manager: Michelle Leedy
Retouchers: John Ciambriello, Peter Gibson
Designers: Jennifer Lally, Tessa Modi
Head of Communications Strategy: Colleen Leddy
Global Chief Strategy Officer: Jonny Bauer
Head of Strategy: Chet Gulland
Group Strategy Director: Harry Roman
Brand Strategist: Candice Chen
Senior Communications Strategist: Hillary Heath
Group Account Director: Julian Cheevers
Account Director: Brian D'Entremont 
Account Manager: Jordan Cappadocia
Associate Account Manager: Scott Bubis
Project Manager: Courtney Kosup, Connor Hall

Client: Under Armour
CEO and Founder: Kevin Plank
CMO: Kip Fulks
SVP, Global Brand Marketing: Adrienne Lofton
SVP, Global Brand Creative: Steve Battista
VP, Global Creative and Design: Brian Boring
SVP, Global Brand Strategy: Rick Anguilla
Sr. Director, Global Brand Marketing: Jasmine Maietta
Director, Integrated Campaign Planning/Global Operations: Teresa Oles
SVP, Global Communications: Diane Pelkey
VP, Media: Steve Sommers

Production Company: Epoch Films
Director: Martin de Thurah
DOP: Kasper Tuxen
Executive Producer: Melissa Culligan
Producer: Michaela Johnson

Editorial: Stitch/Cartel
Editor: Leo Scott 

Post Production: Blacksmith

Sound Design: String and Tins / Q Department

Mixer/Sound Editing: Chris Afzal

Photographer: Thomas Prior

Tech-Savvy Brands Share 4 Vital Tips for Going All in on Wearables

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BARCELONA, Spain—Connected devices and the so-called Internet of Things has been a massive theme at this year's Mobile World Congress, particularly in fitness.

A quartet of brands today spoke about how they've built platforms and services that cater to specific types of consumers like athletes and fashion trend setters.

Here are four tips the panelists shared on how marketers can replicate their success.

1. Build an ecosystem.
At CES, Under Armour unveiled a four-piece equipment set called HealthBox that tracks athletes' health. It includes a scale, fitness band, heart-rate tracker and smartphone app.

Robin Thurston, Under Armour's chief digital officer, explained the digital tools are the result of several years of work and investment.

"The conversation that we're changing by having invested close to a $1 billion in digital in the last two years is to change the way athletes live," Thurston said.

Despite being known as an athletic brand, Under Armour is also diving into health and wellness with its digital health project. For example, the system recommends workouts based on a person's diet.

The takeaway: If brands want to help people change their lifestyles, they have to become experts in all areas of health and wellness.

2. Keep the design simple.
In order for connected devices and wearables to catch on with consumers, it has to be something people want to wear and designed with the same care as clothing, said Stephane Marceau, OmSignal's co-founder and CEO.

"If you're wearing something on your body, you're making a comment about who you are to yourself and the rest of the world—that will not change," he said.

With OmBra—a biometric sports bra equipped with sensors that records a person's heart rate—women designed the product, making 1,683 prototypes before the final version of the garment was created.

"We saw a gap in the wearable market. Since the beginning of wearables, women to a significant degree have been driving adoption," Marceau said. "Think of FitBit, Jawbone Up [and] Nike FuelBand and arguably even today, many of the products out there seem to have been designed by men."

3. Bet big on investments.
The No. 1 issue with technology is getting it to scale, said Greg McKelvey, chief strategy and digital officer of Fossil Group, which has a portfolio of 16 brands including Burberry, Kate Spade and its flagship watch brand.

That's why Fossil acquired wearables maker Misfit for $260 million last year.

"In order for us to scale, we needed a platform—apps and the cloud that supports those apps are now a part of the brand," he said. "We sell 30 million watches a year and all they do is tell time. People buy them constantly with fashion seasons and fashion upgrades. Now we have the ability to add technology and have them do something other than just tell time."

4. Make fitness social.
According to Aideen O'Colmain, FitBit's corporate wellness director, users who have friends on the platform take 27 percent more steps than those without friends.

"When you combine the ecosystem of the motivation and the inspiration, it really does help people progress up to that 10,000 steps that we're all advised we should be taking," she said.

Those kinds of stats are why more corporations are setting up wellness programs that equip employees with digital tools to improve their health and life.

"People who even do a little bit of exercise, maybe walk around the block as opposed to sitting at their desk or walk to someone's desk versus sending a text, do that and they start seeing their results," O'Colmain said. "Their concentration level is better. Their resilience to stress and the way they deal with change in the workplace is much more positive."

Michael Phelps Returns for One Last Swim in Under Armour's Haunting New Ad

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Michael Phelps has been an Under Armour endorser since 2010, but of course, he's only truly in the spotlight quadrennially, during the Olympics. Now 30 years old, the world's greatest-ever swimmer is making one final Olympic push—for the Rio Games this August. 

Under Armour is celebrating its hero's last stand with a beautiful and brooding ad from Droga5 that focuses on Phelps's intense training regimen—in other words, everything he's been doing while outside the spotlight to prepare for those precious moments in the pool.

The most decorated Olympian of all time—with 22 medals in three Olympics, including 18 golds—Phelps certainly looks the part of the aging veteran in the new ad, even sporting a bushy beard (that has to slow him down a few milliseconds in the water, no?). But he's clearly not giving his post-30 body a break.

The ad, part of Under Armour's ongoing "Rule Yourself" campaign, shows Phelps swimming with resistance, lifting weights, carb-loading, taking ice baths, getting barked at by his coach, having restless sleep, and generally looking both determined and haunted by the task ahead of him. (He even undergoes something called "cupping therapy," which looks painful and frankly kind of medieval.)

The soundtrack is "The Last Goodbye" by the Kills.



The training shots are mixed with more elegiac imagery. Phelps is seen looking into a backyard pool strewn with leaves, clearly taking stock of a long journey about to come to an end. Another, recurring shot shows him hurtling down a glowing swim lane that's surrounded on both sides by darkness—an impressively moving nod to his brutal, solitary hours of training. 

"It's what you do in the dark that puts you in the light," says an onscreen line at the end.

The new spot will be introduced Tuesday at an Under Armour event in Baltimore—which is both Phelps' hometown and home to the sports brand's global headquarters. (We'll have more from that event later today.) It follows several other recent spots in the campaign, including one with the United States women's gymnastic team.

As a bit of bonus footage, Under Armour filmed Phelps and his fiancée, Nicole Johnson, watching the spot for the first time. Check out that footage below. 

Heading to Austin? Here Are 10 Must-See Marketing and Media Sessions at SXSW

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Below are 10 events from the SXSW Interactive agenda that caught our eye. The Austin, Texas, festival runs from March 11 to March 15, and all events are listed in Central time. 

President Barack Obama
Friday, 2:30 p.m.

Obama will be the first president to speak at the festival, sitting down with Evan Smith, CEO and editor in chief of The Texas Tribune. A digital trailblazer since he first ran for the White House in 2008, Obama will call on the crowd to make technology work for everyone.

Casey Gerald, co-founder and CEO, MBAs Across America
Friday, 2:30 p.m.

Gerald has oratory skills the current crop of presidential candidates would die for. Listening to how this native Texan plans to spread tech entrepreneurship through the U.S. in 2016 seems like a no-brainer.

Maxine Williams, global director of diversity, Facebook
Friday, 3:30 p.m.

Given Facebook CEO Mark Zuckerberg's recently revealed memo chiding employees for not treating the #BlackLivesMatter movement with appropriate sensitivity, it will be fascinating to hear Williams address the subject of diversity in tech companies.

The Stars of Broad City
Saturday, 9:30 a.m.

There are few comedy programs as buzzy as Ilana Glazer and Abbi Jacobson's Comedy Central show. Their sit-down with Marie Claire's Anne Fulenwider is must-see for any pop-culture aficionado.

The Future of Media Companies
Saturday, 12:30 p.m.

BuzzFeed CMO Frank Cooper headlines this panel looking at how media companies will evolve in the latter half of this decade. Since Cooper is well known for his tenure as PepsiCo's marketing chief, it should be a fascinating look into how his digital pub plans to attack native advertising down the road.

How to Stop Speaking in Bullshit
Sunday, 12:30 p.m.

Jon Favreau, a speechwriter, and Jon Jones, Incite's chief digital officer, were major players in crafting President Obama's image. With the president also scheduled to speak in Austin, it will be especially interesting to hear their take on the president's style and what brands can learn from it.

J.J. Abrams and Andrew Jarecki
Monday, 3:30 p.m.

Longtime friends Abrams and Jarecki—creative forces behind Star Wars and The Jinx, respectively—will talk robots, murderers and the human factor in digital communications.

Is Twitter the New Customer Call Center?
Monday, 3:30 p.m.

About a year back, when Twitter opened up its direct messages feature to allow consumers and brands to communicate more easily, it made clear that the platform could grow as a customer-service channel. It will be intriguing to learn about Twitter case studies involving General Motors and Southwest Airlines, whose execs will appear.

Kevin Plank, CEO of Under Armour
Monday, 4 p.m.

Plank bootstrapped his Baltimore-based company from his grandmother's basement in 1995 and has gone on to do the unthinkable—make the brand a serious challenger to powers Nike and Adidas. In his keynote, he will address that improbable journey and talk about his company's road map for revolutionizing global health through Under Armour products and technology.

Andy Puddicombe: "We All Need to Get a Little Head Space"
Tuesday, 2 p.m.

Despite the self-serving title to his keynote, Puddicombe, co-founder of Headspace, ought to provide rich guidance on how tech entrepreneurs and big brands should think about creating products that service consumers' needs. The Buddhist monk-turned-startup executive offers an unusual example of how a company was built on offering a utility—something many marketers aspire to in a so-called "post-advertising world."

This story first appeared in the March 7 issue of Adweek magazine. Click here to subscribe.


What Michael Phelps Loves About His Under Armour Ad, and Why He's Never Worn Nike

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BALTIMORE, Md.—Michael Phelps and Under Armour were, in a sense, born at the same moment.

The performance sports apparel brand was founded here in Baltimore in 1996 by Kevin Plank. That same year, Phelps—then an 11-year-old kid from the Baltimore suburbs—began to train under coach Bob Bowman at the North Baltimore Aquatic Club.

The rest is history.

At 15, Phelps became the youngest swimmer ever to set a world record (in the 200-meter butterfly). Three years after that, in Athens, he won his first eight Olympic medals, including six golds—beginning a run that has netted him a record 22 Olympic medals in all, and a staggering 18 golds. If the most decorated Olympian in the history of the planet makes this year's Team USA (which isn't a given), he will almost certainly add to his total in Rio, which he firmly says—and you can believe him this time—will be his last Olympics.

Under Armour's growth, of course, wasn't as meteoric. It takes more time for companies to rule the world. But in the sports apparel business, UA is now a solid No. 2 to Nike, and gaining all the time. It had sales of $3.96 billion in 2015, up 28 percent from the year before, and forecasts sales of $7.5 billion by 2018. (That's still just a fraction of Nike's sales, currently about $30 billion a year.) Just as important, it has that buzz—the thrum of an underdog nipping at the master's heels.

UA attributes much of its success to relentless innovation and a singular vision. (In a mid-'90s world obsessed with loose-fitting and low-cost, UA went with tight-fitting and premium.) But it can also be credited to the brand's endorsers, and how they're framed in the advertising. This is a company that chooses wisely, and then helps to mold an athlete's image carefully, focusing on the journey rather than the destination. 

In 2013, UA took a chance on Stephen Curry for less than $4 million a year, after Nike balked, and now has him locked down through 2024—in what may prove to be the best signing since Nike recruited Jordan. UA also hit the jackpot with golfer Jordan Spieth, signing him to a 10-year deal shortly before he won two majors last year and rocketed to the No. 1 ranking.

Phelps is a little different, of course. He's not an athlete who's in the spotlight every day, or every month. He mostly gets attention quadrennially, during the Olympics. But UA is clearly going big with Phelps this year, ahead of what should be a closely watched and hopefully heartwarming trip to Rio.

A UA endorser since 2010, Phelps got a hero's welcome when he arrived at the brand's Locust Point headquarters here in Baltimore on Tuesday. He spoke to the media, offered a glimpse into his workout routine and raved about his new Under Armour ad from Droga5—a beautiful, haunting 90-second tribute that shows Phelps at his most raw and solitary, summing up his decades of cold pools and sacrifice out of the spotlight.



"For me, it's without question an honor to have my own spot," Phelps, 30, told Adweek as he reflected on his place in the UA advertising pantheon, which has famously included stars like Curry, Misty Copeland, Tom Brady and Gisele Bündchen. "To have a spot done like this one was, it's remarkable. It shows the raw things I've gone through to get to the point where I'm at. And that's something a lot of the public hasn't seen."

He added: "It brought tears to my eyes, it brought tears to [fiancée] Nicole's eyes. My mother, without question, tears—multiple times during the commercial. And the music makes it, too. I think it's a deep commercial, and it's really incredible how they did it." 

It really did make Phelps cry, too. In a sly bit of in-house content creation, UA filmed Phelps and Nicole watching the ad for the first time. She is practically weeping by the end, and Phelps himself wipes away a tear. Check out that footage here: 

While Under Armour is still well behind Nike in terms of revenue, some would argue it has leveled the playing field in terms of quality advertising. Where Nike has long excelled with a combination of flash and humor, UA goes for a gritty, lived feel—getting viewers closer to the beauty and brutality of high-level sports. 

Asked if he thought Under Armour had equalled or surpassed Nike in terms of exciting advertising, Phelps said no one should underestimate Plank, the former University of Maryland football captain who started Under Armour from nothing. 

"I was telling Kevin while I was here, I'm amazed at how much they've been able to do, even just in the last year," Phelps said. "Kevin is literally one of the biggest visionaries I've ever met in my entire life. For him, the sky is the absolute limit. I'm sure he will do everything and anything to get to No. 1, if he's not there now." 

As for Nike? Well, Phelps says he's never even tried on one of their sneakers. 

"For me, growing up in Baltimore, Under Armour is the sports line. It's what I grew up with my whole life," he said. "I don't know another brand. To be honest, I have never worn a pair of Nikes in my entire life. I couldn't even wear Nikes when I was with Speedo, before Under Armour. I've literally never tried on a pair of Nike shoes." (He later backtracks on this a little, and admits to having worn them on the podium when Nike was a team sponsor. But he insists he's never done so recreationally.) 

Asked whether he has an expanded role with UA during this Olympic year, Phelps said just wants to do anything he can to help Plank succeed.

"I think if you ask all the athletes—we'll do anything we can to help promote his brand," he said. "They don't have to ask me to put on a shirt. I walk out of the house every day in shorts and a T-shirt, or a sweatshirt and sweats, a pair of sneakers. It's every day. You can wear a quarter zip to dinner, you can wear a polo to dinner, you can wear a button-down to dinner. They have literally everything. It's comfortable, and it's what I live in."

He added with a smile: "I'm a good shoe salesman, too. I know all the shoes. You have any shoe questions?"

It's been a long four years since London 2012, the last time Phelps was squarely in the public eye—and, in his own estimation, underperformed at the Games because of a lack of motivation. (Most gallingly, he was out-touched at the wall in the 200-meter butterfly final, losing by 5/100ths of a second. Phelps is normally the guy who out-touches his rivals, and that loss clearly still bothers him—he mentioned it several times on Tuesday—even though he did win six medals, including four golds, in London.) 

The new Droga commercial certainly reintroduces Phelps to the public in style. But the backstory is different this time. Phelps, who will soon be married and is expecting his first child in May, says he has never been so happy in his life, or so committed to swimming—and it is showing in his performances. (Astonishingly, Phelps claims he's never really given 100 percent in the pool, not even in Beijing in 2008, when he won those eight gold medals, a record for a single Games. That performance, he says, was more about having banked strength through years of preparation than a 100 percent effort on the day. This, by the way, is Phelps' arrogant side, which his detractors loathe—this weird pride he has sometimes taken in being the best while not having to try that hard.) 

Phelps may well have to give 100 percent to make the podium in August. And it's clear this isn't the ambivalent Phelps of London. He is undoubtedly past his prime, and has nothing to prove, yet this time he's not using either as an excuse. In other words, it's fully believable that this is the legendary champion giving everything for one last shot at glory. 

That's a great story, one UA can squarely get behind, and may help explain why the brand released the new spot so early—a full five months before the Games kick off in August. 

"As marketers, we've seen a lot of film," says Adrienne Lofton, UA's svp of global brand marketing. "And when we saw this [new spot] out of the can—rough, color not done—we all got the chills. From Kevin on down, we were blown away, because it represents Michael and everything he's done in his career. It allows us to honor him, and take a moment and say: No matter what, pre-Rio, he never stopped working. He never stopped pushing."

Adweek responsive video player used on /video.



 
UA's New Olympic Uniforms

In addition to the new Phelps spot, UA took the opportunity on Tuesday to unveil its official 2016 Olympic uniforms for USA Gymnastics and USA Boxing, with which it has sponsorship deals. (Overall, the company says, it is outfitting some 250 Olympic hopefuls in 19 sports from 32 countries.)

Check out the Team USA uniforms, and some UA outfits for other countries, below: 

Under Armour's CEO Just Hinted at How His Company Can Grow to $7 Billion by 2018

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At South by Southwest Interactive on Monday, Under Armour CEO Kevin Plank recalled crying at a tollbooth about 10 years ago while trying to explain to the attendant that he didn't have the $2 he needed to drive through. Considering how his company—which was a fledgling T-shirt startup at the time—is now looking to rival everyone from Nike to Apple, the anecdote served as inspiration for aspiring entrepreneurs watching his SXSW keynote. 

"How embarrassed I was," Plank said. "I didn't know where I was going to get my next tank of gas."

But soon thereafter, he said, a $7,000 check came in from Georgia Tech that provided a life raft for his Baltimore-based business. Under Armour has since sold millions upon millions of pairs of athletic shoes and other gear and is now looking to become a wearables tech company. But with Nike recently folding FuelBand—a nod to the Apple Watch's health-monitoring prowess—why does Under Armour want to compete with the likes of Apple, Google and Facebook for expensive engineering talent?

"Our belief is data is the new oil," Plank said. "I think the companies that will win are using math." 

Indeed, data is a major reason Plank also predicted that his company's revenues would go from roughly $4 billion today to $7.5 billion by 2018. He pointed to the 2013 acquisition of MapMyFitness, an Austin, Texas-based startup that's been the bedrock of growing a mobile audience of 140 million users for the company's fitness apps including MapMyFitness, UA Record, Endomondo and MyFitnessPal.

"I believe the companies that will make it are somehow finding a way to find and curate data," Plank said. He later highlighted several things Under Armour's app user data reveals, including that "we can tell you the walking trend in Australia." 

Under Armour's engineering staff has gone from 20 to more than 500, including 350 app developers, in less than three years, according to Plank. The company's fitness-based mobile initiatives are attracting "1 million [new] people to the platform every eight days now."

More than anything, Plank credited internal company core beliefs and mottos—such as "culture eats strategy for breakfast"—as central to the exponential growth of the company, which is now attracting notable endorsers like NBA great Stephen Curry, Olympic swimmer Michael Phelps and ballet dancer Misty Copeland

Fast Company editor in chief Bob Safian, who interviewed Plank in front of more than 1,000 people at the Austin Convention Center, asked him what kind of company he wants Under Armour to be.

"I do like being defined as a performance company because I think it is completely unlimiting," Plank said. 

Whatever the brand is, it's definitely putting gas in the tank nowadays. 

High-End Hunting Apparel Is Killing It With Hipsters and Baby Boomers

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Hunting: It's not just for the Duck Dynasty set anymore. The activity so often associated with rural America is increasingly being marketed as an adventure sport, with more consumers signing up for "luxury" hunting trips and buying high-end gear and apparel.

Also driving the trend is the rise of the so-called "hipster hunter"—that urbanite who's into the locavore/farm-to-table movement seeking to kill his or her own food and signing up in droves for butchering courses in New York and San Francisco.

"The free-range/organic movement fits hunting and butchering your own animal to the fifth degree," said Jason Hairston, who founded upscale hunting apparel company Kuiu five years ago.

Companies like Kuiu and Under Armour, which started marketing hunting apparel a decade ago, as well as traditional outdoor retailers like Bass Pro Shops and Cabela's, are primed to benefit from this phenomenon.

"There's a shift within the pool of people who hunt—it's becoming a lifestyle thing. Younger people are buying into it, too, so they want to wear hunting apparel to identify with it," said Rob Southwick, president of Southwick Associates, a research firm that studies the economic impact of hunting and fishing for the National Shooting Sports Foundation. "There's a lot more specialization, there's a bigger overall selection in stores, and price points are going up because people are willing to pay more."

The pursuit of hunting as a travel or adventure activity is catching on, observed Matt Powell, sports industry analyst at NPD Group. "Particularly with boomers, these experiences are becoming more popular," Powell said. "They might go on hunting expeditions and buy some expensive apparel to do it. There's definitely an upside to the category as a whole."

Under Armour recently launched a line of hunting gear for women—including infrared leggings, camo hats and a whole range of boots—due to the growing demand. "We try to appeal to and educate people who are first-timers. And more experienced hunters are doing longer hunting excursions now, so they want products that can make them more comfortable and stay out longer," said Bryan Offutt, the brand's vp, outdoor marketing and sales. "We compete by coming up with better innovation and better fabrics."

Bass Pro Shops appeals to both entry-level and experienced hunters, and both groups are buying more gear, said Stan Lippelman, the company's vp, marketing.

"Years ago, you bought a bulky parka to keep yourself warm, and now there's more technology with new insulation and better fabrics," he said. "Consumers are spending more, and they're getting a lot smarter. If someone is going to be hunting in the mountains in Alaska for one or two weeks, there's no amount of money they're uncomfortable spending so that they're safe and warm when they go there."

Kuiu aspires to be an aspirational brand for serious mountain hunters, Hairston explained. "It's similar to what created North Face in the beginning," he said. "Kuiu stands for something, and it makes you stand out from your peer group in hunting. We sell the dream of going to Alaska or going to the Northwest Territories. We shoot and post videos and photos on hunts in remote places, and that's inspired a lot of people to go there and to use our clothing to do it."

Still, some retailers continue to be wary about entering the market because of the stigma around hunting, said Hairston. He singled out North Face and Patagonia as "too concerned with what their customers would think if they put their fabrics in camouflage. Fortunately for us, we filled that gap."

This story first appeared in the March 28 issue of Adweek magazine. Click here to subscribe.

Under Armour Is Making a New 3-Second Ad for Every Stephen Curry 3-Pointer in the Playoffs

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NBA star Stephen Curry is famous for shooting three-pointers. So, for each one he sinks during this year's postseason, Under Armour will honor him with a new three-second ad.

The sports marketer launched the campaign on Twitter last Saturday, when the playoffs first started, tweeting the first round of spots under hashtag #BreaktheGame during a match that saw Curry's team, the Golden State Warriors, crush the Houston Rockets 104-78.

The mischievous three-second videos feature Curry wondering—not once but twice—what a pile of bricks are doing courtside. Other bits in his comedy act include starting to share the secret to his success before being cut off, and taping a marker at the three-point line to ensure his enemies—whoever they are—don't move it to thwart him. 

A numerically themed campaign might seem a little on the nose (and any super-short ad can't but evoke Miller High Life's famous 1-second Super Bowl ad from 2009). Still, Under Armour and agency Droga5 are clever to capitalize on Curry's knack for scoring an obscene number of long-distance shots. This season, he shattered his own—and the league's—previous record for three-pointers, raising the high bar from a measly 286 ... to 402.

In other words, viewers might easily see five new ads per game—about on par with Curry's performance during 2015 playoffs, when the Warriors won the championship after 21 matches. Assuming similar performance from him and his team (who are strongly favored to win the crown again this year after a blistering 73-9 season), Under Armour looks topical, and is only on the hook for about five and a half minutes of footage. 

Then again, that's still a lot of three-second ads. Follow along on UAs Twitter account.

CREDITS
Client: Under Armour
Campaign: #BreaktheGame

Agency: Droga5 NY
Creative Chairman: David Droga
Chief Creative Officer: Ted Royer
Group Creative Director: Tim Gordon
Copywriter: Benjamin Bliss
Art Director: Evan Schultz:
Designer: Toga Cox:
Chief Creation Officer: Sally-Ann Dale
Head of Broadcast Production: Ben Davies
Executive Producer: David Cardinali
Associate Producer: Isabella Lebovitz
Head of Interactive Production: Niklas Lindstrom
Head of Art Production: Cliff Lewis
Global Chief Strategy Officer: Jonny Bauer
Group Strategy Director: Harry Roman
Strategy Director: Sam Matthews
Junior Strategist: Newman Granger
Head of Communications Strategy: Colleen Leddy
Senior Communications Strategist: Hillary Heath
Social Communications Strategist: Maureen O'Brien
Data Strategist: Anthony Khaykin
Group Account Director:  : Julian Cheevers
Account Director:  : Bola Adekoya
Account Supervisor: Lucy Santilli
Associate Account Manager: Scott Bubis
Senior Project Manager: Courtney Kosup
Project Manager: Connor Hall

Client:
CEO and Founder: Kevin Plank
Chief Marketing Officer : Kip Fulks
SVP, Global Brand Management: Adrienne Lofton
SVP, Global Communications: Diane Pelkey
VP, Global Creative: Brian Boring
VP, Global Consumer Engagement: Jim Mollica
Director, Global Marketing Operations—Process
& integration : Teresa Oles
Director, Global Basketball: Tai Foster

Production Company: O Positive
Director: Jim Jenkins
DOP: Roberto Schaefer
Executive Producer: Ralph Laucella:
Line Producer: Ken Licata

Editorial: Droga5 Studio
Editor: Matthew Badger:
Studio Coordinator: CJ Strahan

Post Production: The Mill
Executive Producer: Sean Costello
Senior Producer: Nick Strange Thye
2D Lead: Brandon Danowski
Colorist: Michael Rossiter
Color producer: Natalie Westerfield
Color Assistant: Evan Bauer

Sound: Heard City
Engineer: Jeremy Siegel
Executive Producer: Gloria Pitagorsky
Producer: Talia Rodgers

5 Ways Historically Male Brands Are Now Reaching Out to Women

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It may have been an unexpected sight to some when 72andSunny rolled out the latest commercials for Adidas, featuring more than a dozen women—including famous faces like socialite Hannah Bronfman, basketball star Candace Parker and supermodel Karlie Kloss. While it's certainly not—or shouldn't be—a novel move to produce 13 ads centered around the athleticism of a group of women and how it plays into their daily lives, the effort actually embodies a major shift happening in marketing when it comes to gender—in regard to whom brands are targeting and how they're doing it.

Adidas' goal is a simple one: It wants to grow its women's business. And that means creative work and media spending that used to be about men for the most part are increasingly targeting female audiences. "For years, there was the old adage that if you advertised to men, the women would come—but if you advertised to women, the men would stay away," notes Kim Getty, president of Deutsch LA. "That doesn't hold true anymore. Men are more comfortable with women being part of the brand tribe."

The marketers behind the brands that have worked to dispel that "old adage" admit there wasn't a lightning-bolt moment when their brand—be it a maker of sports apparel, beer or motorcycles—decided to pay more attention to women. Most will tell you that they've always spoken to women but are now working to make their ads more inclusive as the brands have modernized.

Their timing is perfect. Not only are gender lines blurring but product and marketing distinctions according to gender couldn't, for the large part, be more out of fashion. "In a world where gender differences are so slight today, old, traditional thinking of who your target audience is is very antiquated," explains Marshal Cohen, NPD Group's chief retail industry analyst.

Including women in a marketing conversation once limited largely to men comes at a time when the purchasing power of women is estimated at anywhere from $5 trillion to $15 trillion annually, per Nielsen data. And it's growing. Fleishman-Hillard projects that over the next decade, women will account for two-thirds of consumer wealth in the U.S. Says Cohen: "The ability to reach the female market in what has traditionally been a predominantly male market represents probably the biggest growth opportunity ever for most products."

It's no wonder, then, that macho brands are going after the female market. Here are five ways they're doing it.

An examination of recent campaigns from male-skewing brands ranging from Coors Light to Under Armour shows women front and center. They're selling bourbon (Mila Kunis for Jim Beam). They're singing about driving pickups (Miranda Lambert for Ram Trucks). They're doing pull-ups (the women featured in Dick's Sporting Goods' first female-targeted ads).

Obviously, going after a market means showing that target in one's ads. "The awareness level among women is the highest for Under Armour than it's ever been," says Adrienne Lofton, svp of global brand marketing at Under Armour, who points to the brand's acclaimed "I Will What I Want" campaign and video ads featuring ballet star Misty Copeland. "This is crucial, as awareness is the initial step to building long-term consumer engagement."

For most of these companies, it's not that women never used their products but, rather, that they weren't the main focus—or even taken into account at all—when marketing messages were being created.

"Any brand nowadays has to stop insulting women first and foremost and be much more inclusive," as Elina Vives, senior director of marketing at Coors, puts it. "The beer category overall is a little bit behind. Women drink 25 percent of the beer in this country, after all. That's not a niche."

Beer brands like Coors and Anheuser-Busch's Michelob Ultra are putting ads in places they've rarely gone before. Coors is running spots on Bravo, Food Network, HGTV and The Travel Channel, print ads in People, Shape, Women's Health and Runner's World, and making digital buys on People.com, WomensHealth.com and Pandora. One would be hard-pressed to find those outlets on either brewer's list of media buys a decade ago.

"That's probably how we're targeting [women] the most," says Coors' Vives. "The message doesn't change. It's the same message and the same copy that we air on ESPN as we air on HGTV. The point is that we want to get more women's eyeballs, that's really what it comes down to."

Michelob Ultra—which has grown its female customer base by 10 percent since 2014, according to the company—places ads in women's magazines including Shape and Women's Health.

It's not only beer brands that are changing up their media buys. Fitness and auto marketers have also increased their presence in female-centric media. "More and more people are recognizing the power of women's purchasing habits," notes Tim O'Connor, Shape's publisher.

Of course, historically male-focused brands also reach men via some of these outlets, points out Laura Molen, evp of NBCU's lifestyle ad sales group, which doesn't specifically target women but does deliver large female audiences. Advertisers, she says, "are interested in capitalizing on the co-viewing experience of men and women watching lifestyle programming."

Marketing to women is one thing. But some male-centric brands are also creating products and services designed for women—taking things far beyond the antiquated "pink it and shrink it" thinking.

Take Adidas, which this past February introduced a major brand platform solely with women in mind. The company did its homework and created a range of products for women—including fashionable athleisure, or everything that fits into gym bags. To that end, the company also made a strategic hire in February, tapping former Lululemon CEO Christine Day as an adviser.

"Our women's initiative has led us to equip female athletes with the kit, so to speak, that's right for them," says Lia Stierwalt, senior director of global communications and media at Adidas. "We want to own their gym bag. Creating products specifically for female athletes goes beyond just your traditional playing field outfit."

For automaker Aston Martin, whose market is traditionally 95 percent male, "the introduction of new products is what will make the brand more appealing to a more diverse group of people," says Laura Schwab, president of the company's Americas division. In March, the British luxury nameplate launched the sleek DB11 model, whose interiors and seating positions were designed with women customers in mind. The company also announced the launch of a four-door crossover vehicle in 2019 that it believes will appeal to women.

Last year, Dick's Sporting Goods introduced a line of women's fitness apparel in partnership with Carrie Underwood called Calia. It also created a women's fitness and lifestyle boutique, the Chelsea Collective, reports evp and CMO Lauren Hobart.

For brands like the NFL—which already boasts an audience that's 46 percent female, representing 18.7 percent growth in the demo over the last decade—it's not so much about getting women's attention but about leaning into and serving that base. In 2010, the NFL's consumer products business got a boost after revamping its women's apparel.

The NFL didn't just appeal to women by redesigning its clothing line. Around Super Bowl 50 this year, it launched its inaugural Women's Summit, bringing together notable women across sports, media, government and academia—including Serena Williams, Condoleezza Rice and Robin Roberts—to talk about the positive influence participating in athletics has on the lives of girls and women.

"A lot of people tend to think football is a whole bunch of guys working there, a whole bunch of guys at the clubs, a whole bunch of guys playing the sport. But the reality is that there are tons of women fans, women that work at the NFL, lots of senior women that work in the clubs—and many of our owners are women," notes NFL CMO Dawn Hudson. With the summit, she says, "we wanted to take advantage of that female power."

Perhaps the only thing more stereotypically masculine than football is a motorcycle—a fact not lost on Harley-Davidson. But by creating events and online communities for women, the company has worked since 2011 to remake its male-dominated identity. "Sometimes I think we need to be a little extra deliberate and overt about making sure women know they are welcome in the Harley brand," says Claudia Garber, Harley's marketing integration manager.

On its website, the company launched a section specifically for women who don't ride motorcycles, featuring information on how to get started and which bikes might be right for them. The brand also hosts classes and demonstrations to show that anyone can pick up a Harley bike should it fall, no matter their strength or the weight of the bike—something the brand found to be a point of concern for many women who haven't ridden.

Even as Harley-Davidson has strived to become a more inclusive brand, when it comes to its major marketing efforts, the company has found it's best to use language and ideas that appeal to all riders rather than bifurcating its messaging by gender.

"If [the only thing the brand did] was come out and just say women are welcome, that's a corporate person trying to drum up business," notes Garber. "It's really about connecting with basic human truths and desires—a desire for adventure, a desire for connection, for escape, for freedom. These are messages that resonate with women as well as men."

"We didn't try to deliver some empowerment or 'You can do it, too!' type of message," adds Jason Norcross, partner and ecd at 72andSunny, the shop behind the female-focused campaigns of Adidas and Coors Light. "We're just so far beyond that. An important thing for any marketer to understand is that we're past talking to women as women—you have to talk to them as people, talk to them as athletes, talk to them as beer drinkers, talk to them like you would anyone else."

Storytelling—a hot marketing topic these days—is just as relevant. Says Katherine Wintsch, founder and CEO of The Mom Complex consultancy, which works with companies like Unilever, Johnson & Johnson and Walmart: "Our research shows that women want to laugh, they want a plot and a storyline, and not just someone talking to a camera and showing you how they clean their dining room table."


This story first appeared in the April 25, 2016 issue of Adweek magazine.
Click here to subscribe.

Why Video-Game Stephen Curry Is Thrilled About Real-Life Stephen Curry's MVP Award

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Something strange happened with Stephen Curry this season—well, stranger than his usual otherworldly feats. The real-life Stephen Curry started playing so ridiculously well that he began to outpace the NBA 2K16 Stephen Curry—which came as a surprise to game maker 2K Sports.

Now, on the occasion of the Golden State Warriors guard being voted the first unanimous MVP in NBA history, Under Armour and 2K Sports are teaming up for a fun stunt that involves helping NBA 2K16 Curry get a little better, so he can match the real thing. 

Starting at 6 p.m. ET on Thursday, NBA 2K16 players will be able to download a roster update that will make video-game Curry an even better shooter—his rating will be maxed out at 99 for 30 hours, in a reference to his jersey number. The 99 rating is the best ever for any player in the game.

To promote the stunt, Under Armour and agency Droga5 created the fun ad below, in which video-game Curry is shocked at what real-life Curry can do on the court.



Droga5 tells AdFreak that the agency wanted to beyond an MVP celebration and instead create an experience that fans could enjoy.

"Stephen Curry's impact on the game of basketball is immeasurable," said Kip Fulks, chief marketing officer at Under Armour. "His game, coupled with his will to dominate, is unlike anything we've ever seen in the NBA. Stephen's cultural reach off the court is equally transcendent. At Under Armour we are thrilled and humbled to be alongside Stephen on this journey, and look forward to his continued perseverance in making himself a better athlete every single day."

CREDITS
Client: Under Armour
Campaign: The New Level
Launch Date: May 10

Agency: Droga5 NY
Creative Chairman: David Droga
Chief Creative Officer: Ted Royer
Group Creative Director: Tim Gordon
Senior Copywriter: Ben Bliss
Senior Art Director: Evan Schultz
Designer: Toga Cox
Chief Creation Officer: Sally-Ann Dale
Head of Broadcast Production: Ben Davies
Executive Broadcast Producer: David Cardinali
Associate Broadcast Producer: Isabella Lebovitz
Head of Interactive Production: Niklas Lindstrom
Head of Print Services: Rob Lugo
Executive Design Director: Rob Trostle
Senior Print Producer: Alyssa Dolman
Retouching Studio Manager: Michelle Leedy
Retoucher: Peter Gibson, John Ciambriello
Global Chief Strategy Officer: Jonny Bauer
Group Strategy Director: Harry Roman:
Sam Matthews: Strategy Director
Newman Granger: Junior Strategist:
Senior Communications Strategist: Hillary Heath
Group Account Director: : Julian Cheevers
Account Director: : Bola Adekoya
Associate Account Manager: Scott Bubis
Senior Project Manager: Courtney Kosup
Project Manager: Connor Hall 

Client: Under Armour
CEO and Founder: Kevin Plank
Chief Marketing Officer: Kip Fulks
SVP, Global Brand Management: Adrienne Lofton
VP, Global Consumer Engagement: Jim Mollica
Director, Global Marketing Operations—Process
& integration: Teresa Oles
Director, Global Basketball: Tai Foster

Editorial: D5 Studios
Editor: Estan Esparza:
Studio Coordinator: CJ Trahan

Post Production: The Mill
Senior Producer: Nick Strange Thye
2D Lead: Nathan Kane

Colorist: Michael Rossiter
Color Producer: Natalie Westerfield
Color Assistant: Evan Bauer

Music: Elias
It's Been Some Time: Composers: Nate Morgan and
Jonathan Scott Manness

Sound: Heard City
Sound Engineer: Jeremy Siegel

Harvey Nichols and Under Armour Take Top Film Lions at Cannes

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CANNES, France—adam&eveDDB's "Shoplifters" spot for Harvey Nichols won the Film Grand Prix at the Cannes Lions festival here tonight, while Droga5's "Rule Yourself: Michael Phelps" for Under Armour took the same prize in Film Craft.

Film Lions jury president Joe Alexander, chief creative officer at The Martin Agency, said his jury was looking primarily for new ideas—approaches that haven't been seen before. "Shoplifters" certainly qualifies, he said.

"The Grand Prix goes to a new way to use security camera footage to sell a rewards card, of all things, for a retailer. It's just a phenomenal piece," Alexander said. "I think the best pieces now cross over. This one ran in cinema, it ran as an incredible viral piece. It's a very modern piece of film that lived in both worlds."



"Most of us on the jury had seen this piece on a computer screen before," added Film juror Ana Balarin, executive creative director at Mother London. "When we got to see it on the big screen—this had never happened to me in a jury room before—once it was finished, the whole jury room spontaneously started applauding. That says a lot about it. … Who would have thought that a film with a low budget, without a script, using found footage could be so entertaining and have such a rich narrative?" 

The closest contenders to "Shoplifters" included Wieden + Kennedy's "Whale" for Old Spice, Forsman & Bodenfors' "Look Who's Driving" for Volvo Trucks, and AMV BBDO's "Never Alone" for Guinness, Alexander said. 

This is adam&eveDDB's seventh Grand Prix in the span of three years. It won four Grand Prix in 2014 for Harvey Nichols' "Sorry, I Spent It on Myself" and one last year in Film Craft for John Lewis' "Monty's the Penguin." That latter campaign also won the Creative Effectiveness Grand Prix at Cannes this year.

In Film Craft, it turns out Droga5 was competing against itself for the Grand Prix. The jurors ended up debating the merits of "Rule Yourself: Michael Phelps" against Droga5's Hennessy spot "The Piccards," before finally choosing the former for the top prize, said jury president Laura Gregory, founder and CEO of Great Guns.



"We chose this piece because, at the end, it's the one that transcended the craft and just reached out and touched us," said Film Craft juror Steffen Gentis, chief production officer of BBDO Germany. "The craft became completely invisible, and we just found ourselves completely immersed."

Droga5 absolutely dominated the Film Craft Lions this year. Along with the Grand Prix, the Phelps spot also won two golds and a silver in Film Craft (along with a gold in Film). The Hennessy spot picked up five golds in all. And Droga5's Under Armour spot with the Team USA women's gymnastics team won a gold and three silvers. 

Notably, very little virtual reality work was recognized in either category.

"VR is the technology of this festival, for sure," said Alexander. "But we struggled with it as a jury, to be honest—how to judge it. We had a deficit of judgment. I think that's probably true of a lot of us who just don't have enough experience looking at VR films and how they work. … I think we're maybe three or four or five Film juries away from having a good idea of what makes a good VR experience and a good VR film. We don't have a lot of it in our shortlist. I think one piece won a bronze [Vrse.Works' "Waves of Grace" for the United Nations] because we felt we should say something about it."

"We struggled in the same way [in Film Craft]," added Gregory. "Most people doing VR now are technologists, not storytellers. Most of the VR that I've seen globally is really lacking in craft."

See all the U.S. winners in Film and Film Craft below: 

 
—U.S. Film winners:

Gold Lion winners:      
• Old Spice "Rocket Car"
Entrant Company: Wieden + Kennedy Portland
Production Company: Biscuit Filmworks Los Angeles / The Mill Los Angeles / Revolver/Will O'Rourke Sydney

• Old Spice "Whale"
Entrant Company: Wieden + Kennedy Portland
Production Company: Biscuit Filmworks Los Angeles / The Mill Los Angeles / Revolver/Will O'Rourke Sydney

• Under Armour "Under Armour Phelps"
Entrant Company: Droga5 New York
Production Company: Epoch Films New York

• Geico "Forest"
Entrant Company: The Martin Agency Richmond
Production Company: Furlined New York / Cut+Run New York / MPC New York

• Netflix "House Of Cards - Fu 2016"
Entrant Company: BBH New York
Production Company: Reset Santa Monica / The Mill New York / Exile Santa Monica

Silver Lion winners:      
• Nike "Last"
Entrant Company: Wieden + Kennedy Portland
Production Company: Park Pictures Santa Monica / A52 Santa Monica / Walker Los Angeles

• Nissan North America "Shoulders of Giants"
Entrant Company: TBWA\Chiat\Day Los Angeles
Production Company: Smuggler Los Angeles / Rock Paper Scissors Santa Monica / A52 Santa Monica

• Geico "Check" "Reunion" "Fisherman" "Directions" (campaign)
Entrant Company: Hungry Man Los Angeles
Production Company: Hungry Man Los Angeles

• Geico "Whisper" "Spy" "Countdown" (campaign)
Entrant Company: The Martin Agency Richmond
Production Company: Hungry Man New York / Rock Paper Scissors New York / MPC New York

• Geico "Lake" "Hike" "Going Up" (campaign)
Entrant Company: The Martin Agency Richmond
Production Company: Furlined New York / Cut+Run New York / MPC New York

Bronze Lion winners:      
• Heinz "Wiener Stampede"
Entrant Company: David Miami
Production Company: Biscuit Filmworks Los Angeles / Cut + Run Santa Monica / The Mill Los Angeles

• Pepsico "Puppymonkeybaby"
Entrant Company: BBDO New York
Production Company: Smith and Jones London

• Nike "The Conductor"
Entrant Company: Anonymous Content Culver City
Production Company: Anonymous Content Culver City

• Audi of America "Commander"
Entrant Company: Venables Bell & Partners San Francisco
Production Company: MJZ Los Angeles / Final Cut Los Angeles / The Mill Los Angeles

• LetGo "Cliff"
Entrant Company: CP+B Miami
Production Company: Biscuit Filmworks Los Angeles

• National Football League "Super Bowl Babies Choir"
Entrant Company: Grey New York
Production Company: Townhouse 23 New York / Park Pictures New York / Exile Santa Monica

• Procter & Gamble "Strong"
Entrant Company: Wieden + Kennedy Portland
Production Company: Rattling Stick Santa Monica

• United Communities of San Antonio "Devices"
Entrant Company: Shooters Films San Antonio
Production Company: Shooters Films San Antonio

• Under Armour "Under Armour USA Womens Gymnastics"
Entrant Company: Droga5 New York
Production Company: Epoch Films New York

• The United Nations "Waves of Grace"
Entrant Company: Vrse.Works Los Angeles
Production Company: Vrse.Works Los Angeles

• Unicef "Unfairy Tales Series"
Entrant Company: 180LA Santa Monica
Production Company: House of Colors Sao Paulo / Consulado São Paolo / Bubba's Chop Shop Burbank

• States United to Prevent Gun Violence "Gun Crazy"
Entrant Company: Grey New York
Production Company: Supply & Demand New York / Uppercut New York

• The Hunting Ground "The Unacceptable Acceptance Letters" "Ms. Robert's Unacceptable Acceptance Letter" (Campaign)
Entrant Company: Goodby Silverstein & Partners San Francisco
Production Company: Prettybird Culver City / Cut + Run San Francisco / Spy San Francisco

 
—U.S. Film Craft winners:

Grand Prix winner:      
• Under Armour "Under Armour Phelps" (also won 2 golds and a silver)
Entrant Company: Droga5 New York
Production Company: Epoch Films New York

Gold Lion winners:
• Hennessy / LVMH "Hennessy The Piccards" (5 golds)
Entrant Company: Droga5 New York
Production Company: Somesuch London / Anonymous Content Culver City / Mill+ New York

• Under Armour "Under Armour USA Womens Gymnastics" (also won 3 silvers)
Entrant Company: Droga5 New York
Production Company: Epoch Films New York
     
• AT&T "Close To Home" (also won a silver)
Entrant Company: BBDO New York
Production Company: Anonymous Content Culver City

• Clark Street Bridge "Looking Back"
Entrant Company: FCB Chicago
Production Company: Lord + Thomas Chicago

• Adidas "Your Future Is Not Mine"
Entrant Company: Squeak E Clean Productions Los Angeles
Production Company: RSA Films Los Angeles

Silver Lion winners:      
• Nike "Last" (also won 2 bronzes)
Entrant Company: Wieden + Kennedy Portland
Production Company: Park Pictures Santa Monica / A52 Santa Monica / Walker Los Angeles

• National Football League "Super Bowl Babies Choir"
Entrant Company: Grey New York
Production Company: Townhouse 23 New York / Park Pictures New York / Exile Santa Monica

• Delta "Tell The World"
Entrant Company: Smuggler New York
Production Company: Smuggler New York

• Amerian Honda Motor Co. "Paper"
Entrant Company: RPA Santa Monica
Production Company: Reset Santa Monica / Rock Paper Scissors Santa Monica / A52 Santa Monica

• Unicef "Malak and the Boat"
Entrant Company: 180LA Santa Monica
Production Company: House Of Colors Sao Paulo

Bronze Lion winners:
• Autism Speaks "The World of Autism" (2 bronzes)
Entrant Company: BBDO New York
Production Company: Lobo São Paulo

• Under Armour "Rule Yourself"
Entrant Company: Droga5, New York
Production Company: Reset Santa Monica

• AT&T - It Can Wait "Fletcher's Drive"
Entrant Company: Smuggler New York
Production Company: Smuggler New York

• Onemoreday.today "One More Day"
Entrant Company: Station Film New York
Production Company: Station Film New York

• Girls Who Code "Girls Can't Code"
Entrant Company: McCann New York
Production Company: Tool New York

• Apple "History of Sound"
Entrant Company: TBWA\Media Arts Lab Los Angeles
Production Company: Stink Los Angeles

• Harman International/ JBL "Bigger Than Us"
Entrant Company: Amusement Park Entertainment Los Angeles
Production Company: Amusement Park Entertainment Los Angeles

• HP "Jane"
Entrant Company: 180LA Santa Monica
Production Company: Park Pictures Santa Monica / Agoraphone Brooklyn

• The Grammys "Compton"
Entrant Company: TBWA\Chiat\Day Los Angeles
Production Company: TBWA\Chiat\Day Los Angeles

• Heinz "Wiener Stampede"
Entrant Company: David Miami
Production Company: Biscuit Filmworks Los Angeles / Cut + Run Santa Monica / The Mill Los Angeles

• Target "Target Creates First Ever Live Music Video With Gwen Stefani"
Entrant Company: Deutsch Los Angeles
Production Company: Wondros Los Angeles


New York's Droga5, Grey and McCann All Crushed Cannes With More Than 20 Lions Each

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It was a good year to be a New York agency at the Cannes Lions International Festival of Creativity with McCann New York, Grey New York and Droga5 all scoring some serious hardware in 2016. 

Droga5 finished out the week with a total of 23 awards: one Grand Prix, 9 gold Lions, 6 silver Lions and 7 bronze Lions. The agency's various Under Armour work racked up the most awards, 16 in total with one particular spot starring Michael Phelps, part of the larger "Rule Yourself" campaign, bringing in the most awards for the agency.

The spot shows decorated Olympian Michael Phelps' daily grueling training process that prepares him for his biggest competitions. Shot with some stunning visuals, "Phelps" won a Grad Prix in film craft, but also managed to score a gold Lion in Film and two gold Lions in Film Craft. Overall, the spot collected six awards.

A second "Rule Yourself" spot from the agency, starring the U.S. Women's Gymnastics Team, followed closely behind the Michael Phelps spot with five wins. 

Droga5 creative chairman and founder David Droga said the agency wasn't going into the festival week assuming that it would win awards. "You can never assume anything will win," he told Adweek in an email, "but we were certainly hopeful that it would be recognized."

Another major win for the agency came what the festival named Droga5 the Cannes Independent Agency of the Year for the second year in a row. The honor is based on the number of total wins and shortlists achieved by the agency. Droga said the title "is a highlight, but what's most meaningful internally are the number of clients that contributed to this great year." The agency also scored Lions for its Hennessy "The Piccards" spot, Jonhsonville's "Sausage Nonnas" and NRG's "Solar Forecast."

Grey New York also had a successful year at Cannes, with 24 total Lions and a ranking as the festival's No. 1 U.S. Agency of the Year, which factors in shortlist honors. The agency scored client Pantene its very first Gold and Silver Lions for the adorable "Dad-Do" campaign starring a number of big name NFL players including DeAngelo Williams and Benjamin Watson styling their daughter's hair. Overall, the campaign won a Gold Lion, two Silver Lions and one Bronze Lion.

Grey NY won for more than just its Pantene work too. "We're winning big for work that worked and busted through the boundaries of advertising. It's entertaining, inspiring, useful stuff; meaningful work that people want to be around," Andreas Dahlqvist, Grey New York chief creative, told Adweek in an email.

Other big wins included the agency's "Super Bowl Babies Choir" campaign for the NFL. Leading up to Super Bowl 50, the agency used the statistic that nine months after a city wins a Super Bowl, it sees a spike in births. The result was a charming music video starring artist Seal, which scored the agency four Lions.

While Dahlqvist said he and the agency weren't 100 percent sure that their work would win them a few awards this year, they had a good feeling after campaigns including "Dad-Do" and "Super Bowl Babies Choir" scored some viral success, reaching 7.5 million views and 4.5 million views on YouTube, respectively. Added Dahlqvist: "Usually the campaigns that take off in pop-culture also perform well in Cannes, and all of our winning campaigns have that in common. They're ideas that took off in a big way and were talked about." 

McCann New York was another big winner at Cannes this year scoring 25 total Lions, more than any other single U.S. agency. While some shops had a handful of campaigns adding to their overall Lions tally, McCann NY saw one of its campaigns, "The Field Trip to Mars" for client Lockheed Martin, winning the bulk of its awards. (Weber Shandwick New York, Momentum Worldwide and UM also contributed to the Lockheed Martin campaign.)

The virtual reality experience, designed to show school children what Mars looks like, won a total of 19 Lions—one Innovation Lions, five gold Lions, seven silver Lions and six bronze Lions. 

"Every year, you hope for one piece that is a 'runaway train.' This year, we were fortunate to have two. Survival Billboard for Microsoft Xbox out of London. And the big winner, Field Trip to Mars for Lockheed Martin out of New York," Rob Reilly, global creative chairman, McCann Worldgroup, told Adweek in an email.

While winning the awards is important for the agency, Reilly noted that there's more to big awards shows than simply receiving the shiny trophies. "What is more important is that your biggest offices do the best work for real, complicated and sometimes impossible brands," Reilly added.

The New York office also demonstrated its ability to do its best work for Girls Who Code with the "Girls Can't Code" campaign, which won a bronze Lion, and Tommee Tippee for the "Advice Wipes" campaign, which won one silver Lion and two bronze Lions. It also won awards for Microsoft and MasterCard.

Bryce Harper Sweats the Numbers in His Snazzy New Under Armour Ad (and Shoes)

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Stats might be a big deal in baseball, but four-time all-star Bryce Harper wants young players to know there's something more important—their feet.

Under Armour is out with a new campaign from Droga5 titled "It Comes from Below," promoting the brand's shoes. It launches this week with an ad for the Washington Nationals' new namesake Harper One cleats (which, naturally, the Nats' right fielder will be wearing at Tuesday night's All-Star Game).

In the commercial, Harper stands at the plate in an empty field, practicing his swing. The voiceover (by Harper's high school coach, Sam Thomas) rattles off his impressive accomplishments by the numbers—precocious gains as a teenager, impressive averages, a unanimous MVP selection—all while his bat cracks against the ball again and again, punctuating each data point.

The score crescendos, his practice intensifies along with his internal monologue, the pressure might even seem to be getting to him, except for one simple fact—it's that thwacking sound that he loves more than any quantifiable accomplishment, and he has his stance (now clad in flashy new black-and-gold Under Armour money makers) to thank for it.



The intense discipline and solitude of the superstar athlete is anything but a new tack for sports marketing. A similar dynamic helped drive Under Armour and Droga5's Michael Phelps ad to a Film Craft Grand Prix at Cannes last month. But that basic trope is executed pointedly here.

The frenetic pace, the doubt and the repetition give way to a sense of quiet born of a pure love for playing the game at the highest level—even if the numbers-soup metaphor does get pushed to the verge of comical, with stadium seat and section numbers entering Harper's mental fray.

Future installations in the campaign, coming this fall, will feature Carolina Panthers quarterback Cam Newton. And the basic premise of the campaign—that greatness starts with solid footwork—is hard to argue with, even if it's a little grounded for an advertisement.



CREDITS

Client: Under Armour
Campaign: It Comes From Below
Title: Numbers

Agency: Droga5 NY
Creative Chairman: David Droga
Chief Creative Officer: Ted Royer
Group Creative Director: Felix Richter
Group Creative Director: Alexander Nowak
Copywriter: Bryan Wolff
Art Director: Daniel Sumarna
Chief Creation Officer: Sally-Ann Dale
Executive Producer: David Cardinali
Associate Producer: Troy Smith
Global Chief Strategy Officer: Jonny Bauer
Head of Strategy: Harry Roman
Strategy Director: Sam Matthews
Head of Communications Strategy: Colleen Leddy
Communications Strategy Director: Hillary Heath
Communications Strategist: Kathryn Ruocco
Strategist: Newman Granger
Senior Data Strategist: Anthony Khaykin
Group Account Director: Julian Cheevers
Account Director: Bola Adekoya
Account Supervisor: Lucy Santilli
Senior Project Manager: Courtney Kosup
Project Manager: Connor Hall

Client: Brand/company name
CEO and Founder: Kevin Plank
Chief Marketing Officer : Kip Fulks
SVP, Global Brand Management: Adrienne Lofton
SVP, Global Communications: Diane Pelkey
VP, Global Creative: Brian Boring
VP, Global Consumer Engagement: Jim Mollica
Senior Category Director: Jim Bel Bruno
Director, Global Marketing Operations, Process & Integration : Teresa Oles

Production Companies: Somesuch + Anonymous
Director : Aoife McArdle
Found Partner, Somesuch: Sally Campbell
Found Partner, Somesuch: Tim Nash
Managing Director, Anonymous: Eric Stern
Executive Producer, Anonymous: SueEllen Clair
Producer: Laurie Boccaccio
DOP: Steve Annis
Production Manager : Yianni Papadopoulos

Editorial: Final Cut
Editor:: Dan Sherwen
Cutting Assitant (NY):: Geoff Hastings
Assistant Editor (UK):: Leila Gaabi
Executive Producer:: Sarah Roebuck
Head Of Production:: Jen Sienkwicz
Producer (UK): Frankie Elster
Producer (NY):: Jamie Nagler

Post Production: BlackSmith
Executive Producer: Charlotte Arnold
Producer: Megan Sweet
VFX Supervisor : Iwan Zwarts

Music / Sound Design: Siren / Factory
Partner and Company Director: Sean Atherton

Color: Company 3
Colorist: Tom Poole

In Big Retail Push, Under Armour Will Move Into NYC's Iconic FAO Schwarz Location

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After years of playing the activewear underdog, Under Armour is ready for a greater share of the spotlight.

This morning, the brand—which has earned attention in recent years for visually striking ad campaigns created by Droga5 and starring athletes like Misty Copeland, Michael Phelps and Tom Brady—announced two major retail expansion plans.

The brand will be opening a massive storefront in the iconic FAO Schwarz location on New York's Fifth Avenue, site of several memorable scenes in Tom Hanks' 1988 comedy Big. The space is one of the world's most expensive retail spaces, according to a November 2015 report from WWD. It has remained empty since Toys "R" Us closed FAO Schwarz just over one year ago, but it is expected to become home to the new Under Armour location as early as 2018.

"The newest Under Armour Brand House was announced today with landlord Boston Properties: 767 Fifth Avenue, a nearly 53,000-square-foot space in one of the most recognized retail areas in New York City," a brand spokesperson told Adweek in a statement. "In a few years, Under Armour will offer the ultimate retail destination experience that delivers on the promise to make all athletes better."

The brand's other big retail announcement today was a partnership with department store chain Kohl's, which will begin selling Under Armour products in its stores in 2017. It will serve, at least in part, as a replacement for The Sports Authority, which was once a significant seller of Under Armour products but filed for bankruptcy last year before announcing plans to close all of its existing stores.

During Under Armour's Q2 earnings call this morning, CEO Kevin Plank called the Kohl's partnership "the next step in our strategy to reach new consumers." He added, "One of the top retailers of activewear in the US, Kohl's has a large and loyal consumer base, the majority of which are women shoppers."

"I am absolutely thrilled to announce our new partnership with Under Armour," said Kohl's chief merchandising and customer officer Michelle Gass in a statement. "We greatly admire what Under Armour has accomplished in creating a powerful and successful brand that has really changed the Active industry. This brand launch builds on other notable investments we've already made in our Active business."

Under Armour reported a 28 percent sales boost for the second quarter of 2016 but still posted a disappointing decline in overall income thanks, in large part, to the collapse of the Sports Authority partnership.

"This decision to reach new consumers through Kohl's is not a channel consideration but a consumer consideration," said Plank during the call. "We want to reach our consumer where they expect to find Under Armour product and will continue to partner with the retailers that provide us the opportunity to showcase the Under Armour brand."

He then called the Fifth Avenue location "one of the most recognized and high trafficked areas in all of New York," adding, "Our plan is to build the most breathtaking and exciting consumer experience ever conceived at retail."

These announcements reflect upon Under Armour's ongoing attempt to position itself as one of the top brands in the global athleticwear industry. It surpassed Adidas in overall U.S. market share in January 2015, and it has reported 20 percent or higher growth levels for 25 consecutive quarters.

In January, Under Armour's stock dropped due to concerns that it might be losing some of that momentum, with various analysts noting a need to increase the company's presence in the female activewear market. The Kohl's partnership could potentially help to alleviate such concerns.

Under Armour currently partners with Macy's, Dick's Sporting Goods and several other major retailers.

David Droga Tells Us His Top 10 Droga5 Campaigns to Celebrate a Decade in Business

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2016 marked a major milestone for Droga5. This summer the agency celebrated its 10th anniversary, and while creative chairman and founder David Droga doesn't particularly like to dwell on the past, he sat down with Adweek to discuss his 10 favorite ads and work from the past decade.

"It's not lost on me that there's a daisy chain between all the work we've done and I can see why this one piece led to the next opportunity. The agency is who it is because of many, many, many chapters that needed to happen," Droga said.

One of the agency's very first projects in 2006 set the tone for the bold and breakthrough work that would come from Droga5 over the next 10 years.

Fashion designer Marc Ecko approached the shop, looking for an idea that would give the brand, inspired by graffiti culture, a bit more street cred. The idea? Rent a 747 anonymously, get it inside Andrews Air Force Base and spray paint the side of it with graffiti while capturing it all on tape.

Looking back at it, Droga said he's aware of "the ignorance and arrogance of a young, creative Aussie," acknowledging a few roadblocks Droga5 faced on this project, which included possibly breaking the Patriot Act and being sent to jail if the month-old agency got caught.

The Ecko work led to an opportunity with UNICEF to create the Tap Project, which asked restaurant-goers in the U.S., who normally enjoy a glass of tap water for free, to donate $1 for their water. That small donation gave clean drinking water to a child in need for 40 days. 

Next, Droga was working with the Jewish Council for Education and Research and Sarah Silverman on a project called "The Great Schlep." The campaign encouraged young Jewish voters to schlep down to Florida to visit their grandparents and encourage them to vote for Obama. It may have helped President Obama win Florida and thus the presidential election in 2008.

From there, some of the bigger clients came calling. First came Prudential and a campaign, "Day One," that aimed to change the conversation men and women were having around retirement. Puma came calling as well, and Droga tried to help the brand position itself away from some of the big athletic brands like Nike and Adidas with a spot called "After Hours Athlete," which celebrated all the sports you can play with a beer in your hand.

In 2014, things started to really go viral. First with an anti-Super Bowl campaign for Newcastle Brown Ale starring Anna Kendrick that challenged the obscene costs (upwards of $5 million in 2016) for a 30-second game day spot. Then came a stunning campaign for Under Armour starring Gisele Bundchen which placed the supermodel in an environment people weren't used to seeing her in, a boxing ring.

Another viral hit followed that same year, this time for Honey Maid. The "This is Wholesome" campaign featured real families, from gay parents to mixed-race couples. That same year the agency also created Thunderclap, a tool for people to spread important messages across social media by mass-sharing messages. It's been used by celebrities, brands and even the White House. 

Finally, in 2015 the agency scored one of its biggest hits yet with a campaign containing found footage of adorable but unusual animal pairings for Android. "Friends Furever" was the most shared ad in 2015, with 6,587,498 shares.


 

Why Under Armour's Michael Phelps Ad Is One of the Most Shared Olympics Spots Ever

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This summer, Michael Phelps is swimming for his last time at the Olympics and collecting a few more gold medals along the way. Outside of his extensive hardware collection, Phelps has helped Under Armour and agency Droga5 hit some major milestones with his "Rule Yourself" ad, including a Film Craft Grand Prix at the Cannes Lions festival. Now it's become one of the most shared Olympics spots ever.

New data from Unruly shows the Phelps Under Armour spot is now the second most shared Olympics ad for 2016—behind Channel 4's incredible Paralympics spot "We're The Superhumans,"—and the fifth most shared Olympics spot of all time. 

What makes the ad, created by Droga5, so sharable?

For one, it's striking the right emotional chord with its target audience: millennial men between the ages of 18 and 34. The dramatic nature of the Phelps spot (with a killer track from The Kills) and its ability to take viewers through the swimmer's intense training process elicited a sense of inspiration among 47 percent of overall viewers, and 68 percent of millennial men.

Twenty-two percent of viewers reported feeling amazement watching the athlete training and even undergoing some extraordinarily painful-looking sessions of cupping therapy. Millennials also felt happiness and surprise—all key emotions needed to engage younger viewers, according to Unruly. 

"Something we've learned from all of the ads we tested if we look at different demographics and the emotions that are most resonant to them, for millennials—especially male millennials—inspiration is one of the top emotions. If that is present at all in an ad, they tend to experience it," Devra Prywes, VP, marketing and insight at Unruly, said. Prywes noted that the inspiration factor seemed to be lacking in a lot of Super Bowl spots from this year but stands out in many Olympics spots, which is likely helping to propel shares for the Olympic ads.

To date, 56 percent of the spots' shares are coming from Facebook, followed by Twitter at 28 percent.

Prywes contended that Under Armour has successfully been able to consistently create authentic spots, with stars from Misty Copeland to the U.S. Women's Gymnastics team. Each piece of work continues to inspire and amaze audiences while also building a sense of pride in viewers, according to the data.

Droga5 co-head of strategy Harry Roman echoed Prywes, adding that the Phelps ad is so shareable because it's able to convey the sacrifice that the swimmer makes each day to prepare for Rio.

"I think people connect with this film because it paints hard work and sacrifice with beautiful strokes, but does so in a way that is raw and real about what it takes to win. I would like to think that this film and the stirring lyrics, 'It's The Last Goodbye,' are playing in the back of people's minds when they see him smiling on the podium. We probably won't ever see another athlete like Michael Phelps for a very long time," Roman said.

Added Prywes: "Especially with younger viewers, over three-quarters will lose trust in a brand if an ad feels fake. Under Armour's recent campaigns are all consistently authentic. They're doing a really nice job of drawing this out and creating new content that all work really well together in their content stack, in this authentic way of portraying athletes and their origin stories, showing the things that you don't always see."

Take a look at some additional data from Unruly below.

    

    

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