Title | PRIDE JERSEY |
Brand | AIG JAPAN |
Product / Service | CSR |
Category | A12. Corporate Social Responsibility (CSR) / Corporate Image |
Entrant | TBWA\HAKUHODO INC. Tokyo, JAPAN |
Idea Creation | TBWA\HAKUHODO INC. Tokyo, JAPAN |
Name | Company | Position |
---|---|---|
Kazoo Sato | TBWA\HAKUHODO | Chief Creative Officer |
Takahiro Hosoda | TBWA\HAKUHODO | Senior Creative Director |
Shuhei Tsuji | TBWA\HAKUHODO | Creative Director |
Keisuke Shimizu | TBWA\HAKUHODO | Senior Art Director |
Yosuke Sugioka | TBWA\HAKUHODO | Art Director |
Kana Takarada | TBWA\HAKUHODO | Designer |
Peter Souter | TBWA\London | Copywriter |
Tomoko Kasugai | TBWA\HAKUHODO | Copywriter |
Kei Tominaga | TBWA\HAKUHODO | Activation Planner |
Hideyuki Kobayashi | TBWA\HAKUHODO | PR Planner |
Shinri Abe | TBWA\HAKUHODO | Film Director (Making Movie) |
Masa Okazaki | TBWA\HAKUHODO | Executive Planning Director |
Keita Kawakatsu | TBWA\HAKUHODO | Strategic Planning Director |
Chigusa Ogasawara | TBWA\HAKUHODO | Strategic Planning Supervisor |
Yoku Ishida | TBWA\HAKUHODO | Strategic Planner |
Kei Kaneko | TBWA\HAKUHODO | Senior Account Director |
Tatsuya Horikoshi | TBWA\HAKUHODO | Account Director |
Kasumi Shimada | TBWA\HAKUHODO | Account Supervisor |
Keisuke Egami | TBWA\HAKUHODO | Account Supervisor |
Mami Konisho | TBWA\HAKUHODO | Account Supervisor |
Toshihiko Sakurai | SAQULAI,inc | Costume Designer And Producer |
Chika Sai | SAQULAI,inc | Costume Director |
Keisuke Mizusako | AOI Pro. Inc. | Producer |
Masahiro Kawaguchi | AOI Pro. Inc. | Producer |
Hisashi Eto | CluB_A | Director |
Justin Brown | Lux Artists Ltd. | DoP |
Wataru Ito | amana | Producer |
DYSK | DYSK PHOTOGRAPHY LLC | Photographer |
Kazuya Yamazaki | NUSH Incorporated | Designer |
Shinnosuke Arima | EDP graphic works Co.,Ltd. | Motion Graphic Designer |
We focused on the fact that when all colors of the rainbow mix, it creates black. We developed a world-first fabric that is black on the surface, but when stretched reveals a rainbow underneath. A jersey for the ALL BLACKS was created using this fabric as a potent and rich symbol of diversity and inclusion. The ALL BLACKS uniform was now also a conduit for the LGBTQ cause for justice and equality, bringing a vast and diverse group of people together, under one common cause.
Overall budget: 200 million yen. (Including paid media budget)
First, we got ALL BLACKS legend Richie McCaw (much loved in Japan) to wear the pride jersey. This was followed by athletes and celebrities who are LGBTQ, foreigners or disabled to join in wearing and being photographed with the pride jersey. These images were shared via social media channels, and then taken up by various news media outlets. The new pride jersey is now a cool, “must have” item for the general public. This overall structure was informed by this overall interplay and tricked down effect from celebrity, to influencers, to general public…but always with a strong message of love and unity at its core. The jersey was worn by more people of at TOKYO RAINBOW PRIDE and garnered even more attention.
Just before the launch of this new jersey, anti-LGBTQ comment made by the rugby player, who plays for Australia, became a social issue in the APAC area. The PRIDE JERSEY was a powerful response to this and won supports from many people. The news instantly sparked all around the world. The jersey was featured in 272 media across 19 countries including UK, South Africa, Ireland and New Zealand, the home of the All Blacks. The voices of supporting diversity and inclusion spread not only in Japan but also across the globe, winning over 53,764 supports in just 7 days.
Existing brand communication paradigms have relied on the consumer to be a passive audience/receptor. However, PRIDE JERSEY disrupted this by creating a new paradigm whereby the brand and consumer together share a vision, direction and philosophy. By creating this "team relationship", we have opened the way for entirely new brand experiences and activation that have the potential for previously unexplored levels of brand-consumer engagement and long-term interaction.
Data indicates that members of the LGBTQ community are well represented and influential online. Rather than leveraging traditional media for mass reach, we opted for a quality, endorsable experience for the LGBTQ community itself. The experiencers became influencers and were able to really exercise their influence on the community and general perception.