Short List
EntrantBMF Sydney, AUSTRALIA
Idea Creation BMF Sydney, AUSTRALIA
Production FINCH Sydney, AUSTRALIA
Production 2 REVOLVER Sydney, AUSTRALIA
Post Production THE EDITORS Sydney, AUSTRALIA
Post Production 2 RUMBLE STUDIOS Sydney, AUSTRALIA


Name Company Position
Alex Derwin BMF CCO
Alex Derwin BMF CCO
David Fraser BMF Creative Director
David Fraser BMF Creative Director
Casey Schweikert BMF Associate Creative Directors
Rees Steel BMF Associate Creative Directors
Jane Tjokrowidjaja BMF Art Director
Ben Alden BMF Art Director
Jack Robertson BMF Art Director
James Sexton BMF Copywriter
Justin Butler BMF Copywriter
Rob Boddington BMF Copywriter
Lisa Down BMF Copywriter
Michael Dawson BMF Copywriter
Lincoln Grice BMF Head of Art & Design
Fiona McLeod BMF Design Director
Caroline Gilroy BMF Designer
Christina Aventi BMF Chief Strategy Officer
David Warren BMF Planner
Thomasine Burnap BMF Group Planning Director
Stephen McArdle BMF CEO
Edward Hughes BMF Group Account Directo
Adam Reeves BMF Senior Account Manager
Stefania Barry BMF Account Management
Peggy Wong BMF Account Manager
India Gates BMF Senior Account Managers
Jenny Lee-Archer BMF Head of TV
Emma Friend BMF Agency Producer
Mandy Payne BMF Agency Producer
Justin Kurzel Revolver / Will O’Rourke Director
Christopher Riggert BMF Director
Loren Bradley FINCH Executive Producer
Helen Morahan BMF Producer
Pip Smart Revolver / Will O’Rourke Executive Producer
Isabella Vitelli Revolver / Will O’Rourke Producer
Gary Phillips BMF DOP
Adam Gibson BMF Photographer
Skye Campbell BMF Producer
Drew Downes BMF Online Artist
Amelia Bromley Atticus Post Production Executive Producer
Bernard Garry The Editors Editor
Basir Salleh BMF Art Buyer
Karen Liddle BMF Production Director
Clare Yardley BMF Creative Services Director
Jane Winnick BMF Print Production
Catarina Duardo BMF Finished Artist

Why is this work relevant for Integrated?

Tourism Tasmania didn’t just want to promote ‘Come Down For Air’, it wanted to prove it. So we gave people a break from the ad break, interrupting shouty shouty and aggressive salesmanship with serene stillness and a quirky tone of voice. Wherever you looked, we served up space. Whether on the street, in the car, on the phone or watching the flatscreen, every asset was designed and crafted to show what Come Down For Air means; serenity, oddity and heaped spoonfuls of space.


SITUATION There wasn’t much to smile about for the tourism industry this year, but as the states opened up their borders, Tourism Tasmania doubled down on the launch of its new brand platform ‘Come Down For Air.’ BRIEF Tasmania — the island off the big island that sits at the edge of world. Weird and wild, Tassie is home to the southern hemisphere’s most avant garde art collection, quaint communities and pristine wilderness. Gloriously offbeat. But our challenge was to scale up its fringe appeal without losing its soul. THE GOAL? Increase awareness and consideration of Tasmania as a destination, resulting in an uplift in intent to visit.

Describe the creative idea

Tasmania is more than a holiday destination. It fulfils a far deeper cultural need, an existential crisis – the need to find meaning and to service the soul. Come Down For Air is a call to arms to throw off the shackles, escape the stresses of modern life and feel everything more deeply. It is, literally and figuratively, a breath of fresh air. It invites you to spoil yourself with the transcendent beauty of untouched nature, indulge in the amazing food and wine, or experience the unique art and adventure sports. A place where you can reset your state-of-mind – and feel the freedom.

Describe the strategy

Breaking the category code. As fantastic as Tasmania’s assets are, we weren’t going to win long-term on MONA, cheese and rock formations. Competitor destinations such as New Zealand, Oregon Alaska and Argentina have similar physical, climatic and cultural assets to Tasmania. We needed to stand out in this crowd. The gap between the holiday bit and the everyday bit. Travel destinations are idealised versions of the country. In contrast, Tasmanians are living this life. There’s no gap between how you holiday and how Tasmanians live. Tasmania is a remedy for constricting modern-day life. Tasmanian reawakening. Tasmania is undergoing a cultural transformation. We wanted to invite people to be part of it. Tasmania is raw, beautiful and honest – allowing people to connect outwardly to the environment and community or inwardly through self-reflection.

Describe the execution

The ad campaign came to life in Australia and other international markets via TV executions and was supported by radio, print, outdoor and online to position Tasmania as a unique destination for travellers. Most tourism brands paint a perfect picture. Sunny beaches. Stock-shot models doing stock-shot things. Not us. Come Down For Air continued to break from tourism ad cliches. We offered unexpectedly authentic depictions of Tasmania. Epic and imperfect. Eccentric, unique and bold. Not overly choreographed. Human stories from real moments, contradicting glossy tourism advertising people are used to seeing.

List the results

Designed to drive long term consideration and visitation of Tasmania, according to the Brand Awareness and Consideration Campaign Review, the campaign has delivered: • 10% Uplift in intent to travel to Tasmania • 30% Uplift in Awareness of Tasmania as a travel destination • 32% Uplift in Consideration of Tasmania as a travel destination Come Down For Air has also differentiated the brand by setting trends in the category. Tracking for brand love has smashed norms for TV (82% above norm) and outdoor (141% above norm). The campaign has also been widely recognised at AWARD Awards with 3 Golds, 3 Silvers, 9 Bronzes and 4 finalists, and the Grand Award for APG Creative Strategy. Lastly, the platform has taken hold in industry and popular culture, with commentators singing its praises: “That’s awesome. Lock that in. In 2050 it should still be the same line" – Russel Howcroft.