novdecpreview2012

LEDA & ST.JACQUES

TOKY

CHRIS BUZELLI SHINE EXHIBIT ADVERTISING ANNUAL 53

ADVERTISING ANNUAL FIFTY-THREE

November/December 2012 Twenty-Four Dollars www.commarts.com

by Tiffany Meyers

L

eda Montereali isn’t exaggerating when she says that she and Pierre St.Jacques didn’t know anything about fashion photography when they opened their studio in 2000.

Take, for instance, the day in 2001 when they shared their work with designer Nadya Toto, hoping to land their first legitimate fashion client. Upon meeting, Toto wondered: Who is their favorite stylist?

Leda stopped cold. I’m sorry, but…what is a stylist?

They got the job anyway. Toto probably sensed that Leda lived for and loved fashion, if not the conventions of fashion photography. And St.Jacques? Well, he lived for and loved Leda. You can hear it in his voice today: “When I am with Leda, I am in the background, because she just shines. She just shines.”

The Montréal photographers—entwined in life and work—go by Leda & St.Jacques.

Leda rarely uses her last name, St.Jacques rarely his first.

They met when Leda was a student at La Cité Collégiale in Ontario. Eighteen years his junior, she took a class St.Jacques was teaching. By the time Leda completed her visual art degree from The University of Ottawa, they were devoted to sharing their lives. Leda suggested: Let’s try our hand at fashion.

As a photojournalist with Black Star, St.Jacques had spent his career documenting the world’s inequities—from the slums of Brazil to Haitian orphanages—plus a dignitary or two, like the Queen of England. “As a photojournalist, you see misery most of the time. When I met Leda, I was ready to change because I was tired, but I knew nothing of fashion.”

What he did know was light. Even off set, it pervades his life. If St.Jacques is talking to you, and the light hits in a way that doesn’t please his eye, he’ll move around you until it does.

When he began shooting in his twenties, he discovered that he could be captivated by a ray of light. “When that began to happen, I understood that, for the rest of my life, I would never be bored. You see time in light. For me, light is everything, it’s life.”

And yes, the Québécois shooter does speak in little prose poems. “He’s very gentle,” says client Steeve Lapierre, vice president of marketing for the Montréal fashion retailer Ogilvy. “He puts his hand to his ear to make sure he doesn’t miss a word of what you’re saying. It makes you feel like there’s nothing more important than what you have to say.”

Petite, where St.Jacques is towering, Leda is a spark-plug pistol from Rome. Communicating with a free and funny irreverence, she alights briefly on topics of conversation before flitting to the next. And while she might have a keen eye for clothes, Right: “We like to create editorials with incomplete narratives that leave space for interpretation. The beauty with fashion images is that they make you dream, and this editorial, shot at our art director neighbor’s cottage, is a case in point on how images can evoke different narratives solely based on the common premise of fairytales.” Denis Desro, art director; ELLE, client.

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Advertising Annual 2012

Communication Arts

39

1

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Advertising Annual 2012

2

FOOD WORTH SHARING.

Consumer Magazine Ads 1 (series) Pete Heyes, art director Matt Lee, writer Jeremy Craigen, creative director Sue Parkhill (London, UK), photographer Daniel Moorey, art buyer DDB London, ad agency Volkswagen, client 2 Leah Zukowski, art director Luke Devlin, writer Dan King, creative director Kristen Ruggles, graphic designer Justen Lacoursiere, photographer Umer Tahir, retoucher Blanka Martin, project manager ZGM (Calgary, Canada), ad agency Brix and Morsel, client

FOOD WORTH SHARING.

3 Anne Elisco-Lemme, art director Jessea Hankins, writer Michael Lemme, creative director Andy Anderson, photographer Duncan/Channon (San Francisco, CA), ad agency Blurb, client

3

find your book.

The guidebook called it the blue lagoon, but you know better. You swam in a volcano where everything was steeped in green, a summery arctic sunset – or sunrise? It’s easy to lose track of time when the light is like this. You found something more important. Now you just need to remember what it was.

With a beautiful book, you can.

Make yours at blurb.com

Photo by Andy Anderson

Communication Arts

89

1

Public Service 1 Dave Brown, art director Ian Hart, writer Ari Weiss, executive creative director John Patroulis, chief creative officer Christine Gignac/Justin Gignac, artists Griffin Farley/Ambika Gautam/Katie Harrison, strategic planners Kath Horton, producer BBH New York (New York, NY), ad agency UNICEF, client “UNICEF’s Good Shirts was a project designed to help millions in the famine-stricken Horn of Africa. We created twelve Good Shirts ranging in price for any budget. On each shirt an item of aid was depicted; the shirt costs the exact price of the aid item.

So, if someone donated $24.30 they received a shirt with a measles vaccine on it. And if someone donated $300,000 they received a shirt with a cargo flight. The Horn of Africa got hundreds of thousands of dollars in aid and good people got comfy cotton T-shirts.

Win-win. To date the collection has generated a little over $379,000 in donations.”

2 (series) Sean Stell, art director Greg Buri/Basil Douglas Cowieson, associate creative directors Ben Purcell/Steve Yee, creative directors/directors Colin Jeffery, executive creative director David Angelo, chief creative officer Seaton Lin, director of photography John Stevens, artist Ronnie Shatto, editor Spinach, editorial company Black Iris, music company Jonathan Carpio/Kara Fromhart/Tonya Nelson, producers Aileen Shaw, executive producer Grandesign Media Services, production company David&Goliath (El Segundo, CA), ad agency Weingart Center, client “In Los Angeles more than 50,000 people live on the streets. So we partnered with the Weingart Center and set out to create a difference.

In phase one, our goal was to help the homeless find a new place to call home. Working with a street artist, we sketched around homeless volunteers to create scenes of a different ‘home.’ We drew bedrooms, dining rooms and living rooms on the streets around the individuals. People walking by could help ‘Text Them Home.’

This non-traditional ambient campaign showed the world what was possible if people simply changed their perspective.

In phase two, we wanted to make locals aware of the number of homeless who die on the street everyday. To illustrate that point, we created coffins out of the same cardboard that the homeless sleep on. Each coffin was printed with the message, ‘Every day in LA, one person who sleeps on the street, dies there.’

Then we placed the coffins in high traffic areas with a human body in each.

People could make donations and help the deaths diminish. Usually advertising isn’t a matter of life or death. But for this campaign, in fact, it was.”

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Communication Arts

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design

Design Industry Dashboard

Trends

While current design leaders express cautious optimism for the near-term, economic indicators and employment forecasts suggest that design’s future growth will be more technology-based. Web design/ production and mobile application development positions continue to be in the greatest demand, while design positions in traditional media are expected to remain flat or slightly decline.

US Commercial Printing & Print Services Shipments

AIGA Design Leaders Confidence Index

January to July in billions of CPI-adjusted US dollars

110

$46.0

2010

2011

2012

30

50 40

20

30

10

20

$47.9

40

60

$49.4

50

70

$51.6

80

$61.7

60

90

$64.4

70

100

2006

2007

2008

2009

2010

2011

2012

0

2007

2008

2009

Source: AIGA quarterly survey of more than 350 design leaders. The index began in April 2005 at 100 points.

Source: Strategies for Management, Inc., WhatTheyThink Economics & Research Center

Projected Growth of Design Jobs Based on Discipline

Expected Mainstream Adoption of Emerging Technologies

(2010–2020)

2–5 Years

61% 27% 17% 2% -4%

Biometric Authentication

Computer system design & related services

Cloud Computing Gesture Control

Specialized design services

Social Analytics

Advertising, public relations and related services

5–10 Years Augmented Reality

Speech Recognition

Crowdsourcing

Wireless Power

Gamification

>10 Years

HTML5

Printing and related support activities

Holographic Displays

3-D Printing

Human Augmentation Mobile Robots

Publishing industries (except Internet)

3-D Bioprinting

Source: US Department of Labor, Bureau of Labor Statistics

What do you see as the greatest opportunity for your firm over the next twelve months?

What do you see as the greatest challenge for your firm over the next twelve months?

13% 1%

Other Expansion

Source: Gartner, Inc. Emerging Technologies Hype Cycle 2012

18% 44%

19%

Staffing Technology

21%

Focused Positioning

Economic Turnaround

5%

25%

New Media

New Business

5%

20%

Lowered Budgets Profitability

28%

New Business

Source: FunctionFox Creative Industry Outlook for 2012, a survey of more than 200 professionals in small creative companies (marketing, advertising, public relations, web design, etc.).

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Advertising Annual 2012