4 March 2022

IKEA ADS

THE WONDERFUL EVERYDAY OF IKEA ADS

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    When it comes to eye-catching, memorable ads, IKEA’s are some of our favourites.

    The key elements that mark out the Swedish retailer’s campaigns are a combination of humour, playfulness and emotion, often – but not always – focusing in on families having fun together, and how your home is a big part of that (especially relevant after the last couple of years).

    They’ve been running their delightful ‘The Wonderful Everyday’ spots since early 2014 and to celebrate the series, we’re taking a look at the best IKEA ads.

    Who Makes The Wonderful Everyday Ads?

    Who do they trust to keep coming up with the goods?

    In an age where brands often chop and change agencies to get a fresh take, IKEA have forged a long-standing relationship with creative agency Mother London.

    UK marketing boss Laurent Tiersen told Marketing Week that, ‘We prefer to invest in a long-term partnership and not keep hopping around. Therefore, we make sure all our agencies, from creative to media, develop things together. We work with Mother London like we would work with a designer on a new piece of furniture; there’s collaboration every step of the way.

    ‘If we work with a designer, we also work with the supplier to find the right set up to make sure their product is ethical, functional, beautiful and sustainable. It’s the same process with our creative and media agency partners. We regularly ask Mother London’s advice on wider business decisions such as how we can position ourselves in the UK market or how we approach prices. This level of collaboration is key to our success.’

    IKEA The Wonderful Everyday

    IKEA made its UK debut in 1987; however, by 2013, sales growth had declined and they challenged Mother London to develop a communications strategy to revitalise the brand.

    Mother’s Strategy Director, Kieran Bradshaw, said that they faced two core challenges, ‘change the fortunes of the business (turn around declining sales growth/revenue/penetration) and give the brand a renewed sense of meaning – not just for consumers, but also for co-workers and stakeholders.’

    The team hit on the idea that life isn’t about fleeting events, like a summer holiday, but the little, everyday things.

    Hence creating, ‘a brand new world of hyperbolic, surreal and cinematic renditions of life at home that demonstrated insight, yet brought more to people’s lives than simply holding up a mirror to everyday life.’

    IKEA Ads 2021

    ‘Every Home is a Haven’

    Aka the ‘brawn bears’ ad, Mother London’s spot was voted by creative peers in the Thinkbox Academy as the best TV ad to debut in September/October 2021, and it was definitely one of our favourite ads of last year.

    Mother said that the brief was to set out IKEA’s, ‘democratic mission: to make every home a haven’. That is, home should be a place where you feel safe, happy and protected, free from everyday life’s distractions.

    What makes you feel safe and secure when you’re a kid? Cuddling a teddy bear. Hence the buff bear bouncers defending the family home.

    The Mother team then, ‘spent a lot of time crafting the moments of protection in the film and figuring out how to do them in a way that landed the idea but also felt really playful and charming. For instance, why just hang up on an unwanted work call when the bear could crush the phone to smithereens? That’s much more fun.’

    The team told Campaign, ‘TV is where IKEA set out its strong point of view on everyday life at home and the importance it plays in everyday life. It’s where we inspire people to think differently about the home, not just for different’s sake, but because of the big emotional benefits it can bring to their lives. It’s also an opportunity to really revel in the wonder and magic that endears people to the brand.’ Which of course exactly chimes with the retailer’s tagline, ‘The wonderful everyday’.

    The soulful hip hop track used on the ad is Sampa the Great’s ‘Final Form’, from the Zambian rapper’s debut album, The Return.

    ‘Change a Bit for Good’

    Are you suffering ‘consumer fatigue’ when it comes to sustainable living? IKEA’s eco and sustainability-themed ad from May 2021 will strike a chord with anyone who loved Pixar’s Wall-E.

    A determined droid, inspired by a billboard that says, ‘Defender Droids Save the Planet’, tries his best to make a difference in cleaning up the environment, travelling from a clogged-up canal to taking on a truck and then trying to tackle a huge oil slick on a beach. His efforts are constantly thwarted and he returns home, looking defeated and utterly dejected.

    However, his little droid family home is kitted out with IKEA products, from a string bag for their veg to glass bowls that enable them to batch-cook, minimising food waste, and they’re even using a Flisat wooden toy storage box on wheels to grow veg in.

    Our cute robot ends his day with a smile. The ad expertly taps into how so many of us feel: we can’t have an impact when it comes to saving the planet. However, IKEA’s idea is that if we all make a few easy changes to live more sustainably, the power of change is in everybody’s hands.

    The music used on the ad is ‘Keep Movin’ by Crosby St Models, which features a mix of strings and determined beats with a slightly robotic, processed vocal, ideal for personifying our hero and his mission.

    IKEA Ads 2020

    The ‘Fortune Favours the Frugal’ ad from December 2020 also demonstrates the brand’s ‘waving goodbye to waste and embracing living in moderation’ ethos.

    IKEA’s Marketing Communications Manager, Kemi Anthony, said, ‘We’ve set the ambitious goal of becoming fully circular and climate positive by 2030,’ and that their aim is, ‘To democratise sustainability, demonstrating how easy it actually is to make very simple, affordable and meaningful changes.’

    An asteroid made of plastic toys, bottles and bags is shown rocketing towards Earth, contrasted with shots of a family who are living sustainably.

    A little girl listens to a tape on a Walkman (which is when the ad’s soundtrack, the suitably titled ‘Makin’ it Better’ by The Barons, kicks in), pickled food is put into glass jars with wooden tops, while there are herbs growing in the Bittergurka herb pot, and a woman replaces a lightbulb with one that’s more energy-efficient.

    As the asteroid gradually breaks up on entry, there’s a final plastic drinks bottle that lands in the family’s backyard. The little girl sprints out, picks it up and pops it into their recycling bin in the kitchen.

    IKEA’s latest recruitment ad, ‘Taste the Future’, further develops their sustainability theme:

    ‘The Hare’

    ‘The Hare’ is a fantastic IKEA bedroom advertisement from September 2020, which provides a hilarious ‘prequel’ to the fable of The Tortoise and The Hare.

    Our long-eared hero sets off, bright-eyed and bushy-tailed for a BIG night out with the lads, incorporating everything from the pub to a kebab, a lengthy walk home when he misses the night bus, and then compounds the effect by staying up in the wee small hours when he’s home, phone-scrolling and watching TV, before eventually nodding off on the sofa.

    Meanwhile, in an apartment across town, Tortoise has had a lovely restful night’s sleep – the unsung hero of a great day (check out his huge stack of pillows and fluffy duvet!).

    He’s up and at ’em and ready to take on the race. Another bang-on song title – ‘Witness the Fitness’ by Roots Manuva – speaks to the dedication the Mother London team have for finding exactly the right fit for their ads.

    ‘Conquer the Great Indoors/Lion Man’

    ‘Did you know that a lion spends more than 18 hours a day relaxing?’ asks the soothing Wonderful Everyday voiceover man.

    The camera pans over a lion (well, a person in a massive lion suit), luxuriating on his lovely sofa (amusingly accompanied by his pet tabby cat). He watches some lion-based documentaries, reads a book with his feet up and does a few yoga stretches.

    However, the lion’s approach isn’t laziness, it’s preparation for taking on the energy required to entertain a bunch of energetic kids who then burst into the sitting room; our hero entertains them with everything from balloons to rides.

    ‘Relax into greatness’ is the advice we’re given, to relax and recharge both our bodies and minds.

    IKEA Ads 2019

    ‘The Nightclub’, IKEA’s ad from January 2019, celebrated its belief that ‘the greatest nights are the ones spent in bed’. Crowds of people are shown rocking up to a club and joining the queue.

    However, instead of sporting club gear, they’re wearing onesies, PJs and slippers; as they enter the club, they’re greeted by an array of beds under the mood lighting.

    They do their pre-sleep prep (face masks, teeth brushing, luxury hot chocolate – plus some bedtime reading and bouncing around), before snuggling down for a delicious night of sleep.

    And the soundtrack? What could be better than Roy Orbison’s epic ‘In Dreams’? Cleverly, this is an IKEA bedroom ad that’s not an IKEA bedroom ad.

    IKEA Ads 2018

    ‘Ghosts’ showcases IKEA’s stunning fabric selection, as a bunch of bright, bold spooks gatecrash a dull party hosted by white sheet-clad ghosts in a plain, largely beige, rather uninspiring suburban house, whose owners have gone out for the evening (special shout-out to the detail of the ghost dog!)

    Our colourful, patterned gang quickly take over the decks, putting on K7’s 90s hip hop anthem, ‘Come Baby Come’, start break-dancing and body-popping and everyone’s having a great time.

    When they spot the car headlights of the owners returning, however, all the ‘ghosts’ chuck themselves around the sitting room: a rug on the floor, a throw on the sofa, even the curtains. ‘Be a maverick with fabric’ is the tagline, as the homeowners look a bit perplexed by their brand new, style-and-personality-filled sitting room.

    For some extra fun, check out the VFX shots behind the scenes:

    IKEA Kitchen Advertisement

    IKEA’s ‘Cooks’ ad from July 2016 shows that when it comes to spending time in the kitchen, it’s about much more than food. ‘Don’t forget to feed Jo’, a mum says to her dad, as she heads off out, leaving the little girl and her granddad together, both parties looking slightly alarmed.

    The pair then proceed to have huge amounts of fun, messing about with food, tastes and utensils and making each other laugh uproariously.

    The resulting food (soup made in a wok, drunk from glasses) and sandwiches, may be disgusting (judging by granddad’s expression at the end), but the two have had a brilliant time together and are still merrily drumming away on a stack of pans by the time mum gets back home.

    The ad was directed by A-list French film director, producer and screenwriter Jean-Pierre Jeunet, who’s perhaps most famous for black comedy Delicatessen, The City of Lost Children and his biggest success, Amelie.

    The track used is ‘Caravan’ by Stephane Grappelli, which has bags of jazzy swing, and, of course, plenty of drumming and cymbals to tie in with the ad’s final frames.

    It’s perfect for this creative, as jazz is famous for bringing together freeform elements and making them work together.

    IKEA Christmas Ads

    ‘Waste’ was made by BBDO Russia in 2020, highlighting the issue of food waste during the holiday season.

    A small boy dodges huge pieces of food as they come crashing down from the sky onto the snowy streets where he’s playing.

    A giant cheese-and-olive toothpick! A turkey leg! He dives through a hole in a piece of cheese and has to outrun a tangerine (much like Indiana Jones’s escape in Raiders of the Lost Ark) before making it back to his tower block (complete with a draping of grapes), where he finds his mum scraping leftovers into the bin after a meal.

    ‘What if nature returns everything we throw away during the holidays?’ questions the voiceover as mother and son look in horror at the food raining down past their window. ‘Don’t let your celebrations go to waste’ is the tagline, as the two pack up the leftovers in IKEA’s Tupperware-style ‘lock and lock’ containers.

    The ad is soundtracked by the classic Christmas carol, ‘Here Come the Bells’, which, with its roundel structure, and layering of the voices, mimics the food cascading down from the heavens.

    At the opposite end of the spectrum is a festive Canadian IKEA ad from 2021, which uses an iconic Bollywood track. The Canadian family of South Asian heritage come together for the holidays, helped by IKEA’s little touches. The ‘Assemble Together’ campaign was created by a team that included members from a diverse set of cultural backgrounds and perspectives.

    From Indian and Persian to Filipino and Italian, and of course Canadian and Swedish too, the diverse personal experiences, unique holiday traditions and celebrations from across the group helped to inform the campaign insight, creative execution, and production decisions.

    The track used is ‘Chaiyya Chaiyaa’, an Indian pop-folk song, used in the Bollywood film Dil Se, composed by Oscar and Grammy-winner A.R. Rahman (Slumdog Millionaire).

    As for the best IKEA Christmas ad, it’s still got to be ‘Silence the Critics’ from 2019. A wonderfully ludicrous take on the state of our homes over the holidays, and the pressure people feel when it comes to entertaining and hosting, a crew of household objects unite to perform a scathing diss track, taking down nearly everything in the house.

    Legendary grime emcee D Double E did the duties and it won industry awards including two Yellow Pencils at the D&AD Awards.

    Holly Fraser, Director of Content at WePresent, revealed why she thought the ad deserved the award: ‘Work that should be celebrated is work that feels new, that breaks the mould and ignites conversation. That’s exactly what IKEA’s ‘Silence the Critics’ does. Subverting the tired, ‘pull at the heartstring’ formula usually rolled out for holiday season advertising, it instead uses grime music to create their own diss track, targeting the house in the ad. The result is a clever, catchy, conversation-starting piece of work that lived far beyond its original purpose, and instead turned into a cultural moment.’

    Clever, catchy and conversation-starting seems to sum up IKEA’s whole #TheWonderfulEveryday campaign – and long may it continue.

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    THE HISTORY OF WOMEN IN FILM

    THE HISTORY OF WOMEN IN FILM

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      How are women represented in the film industry?

      Reflecting the world we live in, contemporary feature films are filled with kick-ass women of all ages, races and backgrounds, but sadly that hasn’t always been the case. Unlike men, women had to fight for positive representation in the media.

      In the early days of cinema, films would regularly rely on female archetypes that portrayed women as weak, inferior or unintelligent.

      Take the damsel in distress archetype, for example – a character who requires the male protagonist to save her from the villain. She simply exists to serve as the hero’s prize and burden. Degrading, right?

      Below, we take a look at the history of women within film, and unpack the gender inequality that still exists in the film industry.

      Women’s Roles in Movies

      The 1920s: Applause (1929)

      Rouben Mamoulian’s Applause was a film produced during the early years of sound films.

      The story follows a burlesque star called Kitty Darling who sends her daughter to a convent to distance her from the burlesque scene.

      After becoming an alcoholic and being mistreated by men, Kitty dies from a drug overdose, and April becomes a burlesque dancer. Apparently, it was inevitable that Kitty’s daughter would follow in her footsteps.

      The film may be female-led, but, unfortunately, both women are illustrated as objects of desire, reflecting society’s views at the time.

      The 1930s: King Kong (1933)

      In 1933, Cooper and Schoedsack’s influential monster film King Kong made its debut. And aside from the titular giant ape, Ann Darrow is considered the most prominent character in the movie.

      Sounds like a win, right? Wrong. Darrow is King Kong’s damsel in distress.

      Kidnapped by both the monster and the natives of Skull Island, Ann Darrow’s character is portrayed as a helpless woman who requires the help of men – such as filmmaker Carl Denham – to save her.

      The 1940s: The Red Shoes (1948)

      The Red Shoes – a 1948 British drama film, written, directed and produced by Michael Powell and Emeric Pressburger – pivots around a young, aspirational ballerina called Vicky Page.

      Of course, with this being the 1940s, there’s a patriarchal catch: she must choose either her career as a ballerina or her budding relationship with the young composer, Julian Craster.

      The moral of the story? Women can’t have it all. And what happens in the end? Vicky bleeds to death.

      The 1950s: Peter Pan (1953)

      The 1950s was an era of change, and Disney’s Peter Pan reflected this.

      The 1953 animation features an array of female characters, many of which transcend the basic archetypes established in the early 20th century.

      As we’re sure you’re aware, the two key female characters of Disney's Peter Pan are Wendy Darling and Tinkerbell. The former is a kind and intelligent young woman who is both mature and adventurous; the latter is a stubborn and sassy fairy who is loyal and caring at heart.

      And while showing more than one type of woman is a novelty, what isn't new is the fact that both characters need a man (Peter, of course) to save them.

      The 1960s: Batman (1966)

      The first Batman film – simply titled, drum roll please, Batman – came to movie theatres in 1966, starring Adam West as Batman, Burt Ward as Robin and Lee Meriwether as Catwoman.

      Sure, it was a win to see a female anti-hero make it to the silver screen, but, unfortunately, this early depiction of Selina Kyle embodied an ancient archetype: the femme fatale.

      Essentially, this female archetype seduces men towards traps and compromising situations.

      In addition, Meriwether is sexualised throughout the film for the male gaze, from her outfit to the poses she’s directed to assume.

      The 1970s: Alien (1979)

      The 1970s birthed the first female action hero: Ripley, a warrant officer of a spaceship called Nostromo.

      Played by Sigourney Weaver in Ridley Scott’s 1979 sci-fi horror Alien, the character is the hero of the film and the lone survivor. Now, how’s that for bad-ass women?

      But before you get too excited, it’s important to note that we’re still in the 70s here, so things are still not perfect.

      The issue with Ripley’s character is that she is perhaps overtly masculine. From her outfit to her stance, it’s quite evident that screenwriter Dan O’Bannon’s script was gender–blind. So is this really the win for women we first thought it was?

      The 1980s: Indiana Jones and the Raiders of the Lost Ark (1981)

      Steven Speilberg’s Indiana Jones franchise contains some of the best-loved films in the world, and the first chapter – Indiana Jones and the Raiders of the Lost Ark – is widely considered the best.

      What makes it so special? We’d say it’s all down to Jones’ relationship with tough cookie Marion Ravenwood.

      In the 1981 picture, Marion is so much more than just your typical ‘love interest’ – she is a brave, spirited and independent woman who just so happens to develop feelings for the hero.

      Her only downfall? She needs to be rescued a total of six times during the space of one movie. Three words: damsel in distress…

      The 1990s: Mulan (1998)

      Just before the new millennium, Disney released the forward-thinking animation Mulan.

      The film centred on Chinese folk heroine Hua Mulan who disguises herself as a man so that she may take the place of her elderly father in the army.

      The physical and mental strength of Mulan signalled a new age of cinema in which women were allowed to adopt both feminine and masculine attributes.

      It’s just a shame she literally has to pretend to be a man to gain acceptance within the world of combat.

      The 2000s: Kill Bill Franchise (2003-2004)

      Quentin Tarantino’s duology – rumoured to one day become a trilogy – Kill Bill (Vol 1. & Vol 2.)  is one of the most important works of the 2000s. This is a film in which women are proud to be skilled in combat.

      The Bride (the main character, famously played by Uma Thurman) is a certified boss – she is determined yet nurturing, ruthless yet compassionate.

      Save for her violent traits, she was, and still is, a positive role model for women worldwide. She's a mother who can have it all.

      The 2010s: Avengers: Endgame (2019)

      During the 2010s, Marvel Studios reigned supreme. And although women were left behind – or, in Black Widow’s case, sexualised – at the beginning of the universe-building franchise, things felt different by the end of the decade.

      In Avengers: Endgame, women set pace. Sure, there are some cringe-worthy ‘girl power’ moments (who can forget that female team-up scene during the final battle?), but, ultimately, women are paramount to the narrative.

      From Wanda Maximoff almost defeating the big bad (Thanos) to Black Widow’s heroic sacrifice, Avengers: Endgame found myriad ways to remind women that they rule. Plus, it promised a female-focused future for the franchise.

      The 2020s: The Eternals (2021)

      Speaking of Marvel Studio’s female-led future, the studio released The Eternals in 2021 – a film helmed by female director Chloé Zhao that put modestly dressed, powerful and beautiful women at the forefront and centre of the action.

      Yes, powerful women can be beautiful too! And, as the film teaches us, they can also be conflicted, stubborn, disabled, romantic and much, much more. Finally, multifaceted women have come to film.

      Women in The Film Industry: Popular Questions

      Now that we have travelled back to the early days of film, we thought we’d run through the answers to three of the most popular questions surrounding women in the film industry.

      What Percent of Film Directors Are Women?

      According to Variety, 23% of directors are female. And although that still sounds immensely imbalanced, Statista reports that only 4.5% of directors were female in 2018.

      Want to learn more about female film directors? Check out our guide to the best female directors of our time.

      What Percentage of Women Are in the Film Industry?

      As claimed by The Center for the Study of Women in Television and Film, 25% of those working in fundamental, behind-the-scenes film roles were women in 2021. This is another stat that marks an improvement as, in 2020, only 23% were women.

      Who Was the First Female Lead in a Movie?

      Canadian-American actress Florence Lawrence (aka the Biograph Girl) was the first woman to be publicly named as an actress in a film and, seemingly, the first woman to lead a movie.

      Lawrence starred in hundreds of films during the early 20th century, some of which she played the titular character (e.g. O’Yama in D. W. Griffith’s The Heart of O’Yama).

      Women in Film: The Takeaway

      In summary, the representation of women in film has improved over the last century or so. And although there are still frequent glimmers of stereotypes that the industry needs to shake off, it seems there’s a brighter future on the horizon.

      Discover our playlists, or head straight to our new releases for more.

      Need Music for Your Project?

      At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

      THE HISTORY OF WOMEN IN FILM Read More »

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