Millie 3.0 360 campaign
The most interesting problem on this campaign was a green jacket.
We had model footage. No flat-lay product shot. Reshoot wasn't an option, so I used Pencil, OLIVER's AI platform, to generate one that matched the existing footage exactly. Problem solved in an afternoon rather than a production week.
That's the short version of what this entire campaign was. Not the textbook answer under ideal conditions. The right answer under real constraints, at speed, across an enormous scope: three product lines, seven channels, three audience segments, all needing to feel like one campaign family without blurring into each other.
Two elements held the visual system together across everything. The golden energy lines — animated dotted arrows showing Vanish working through fabric — ran across every KV, every channel, every product line. And Vanish pink: even on the Whites KV, where the background is white and the shirt is white, the pink shows up in the typography and the packshot. It never disappears.
Each KV was built on the same structural logic: a shirt split down the middle, one side dull and labelled "detergent only," the other vivid and labelled "Vanish + detergent." Pinks had Millie holding the yellow polo. MBG dropped Millie and blew the money-back guarantee seal up to full size, making it fly off the product rather than sit quietly in a corner. Whites used a white tee against a white background, pink holding the whole thing together. Same skeleton, different personality.
The funnel ran KNOW/THINK/DO: challenge assumptions at the top (most people underestimate how fast Vanish works), show proof in the middle, make the comparison to everyday detergent explicit enough to convert at the bottom.
The brief was performance creative. What it produced was a character. Millie — Vanish's stain machine — is still on air three years in.
Role: Art Director
Agency: OLIVER Agency
We had model footage. No flat-lay product shot. Reshoot wasn't an option, so I used Pencil, OLIVER's AI platform, to generate one that matched the existing footage exactly. Problem solved in an afternoon rather than a production week.
That's the short version of what this entire campaign was. Not the textbook answer under ideal conditions. The right answer under real constraints, at speed, across an enormous scope: three product lines, seven channels, three audience segments, all needing to feel like one campaign family without blurring into each other.
Two elements held the visual system together across everything. The golden energy lines — animated dotted arrows showing Vanish working through fabric — ran across every KV, every channel, every product line. And Vanish pink: even on the Whites KV, where the background is white and the shirt is white, the pink shows up in the typography and the packshot. It never disappears.
Each KV was built on the same structural logic: a shirt split down the middle, one side dull and labelled "detergent only," the other vivid and labelled "Vanish + detergent." Pinks had Millie holding the yellow polo. MBG dropped Millie and blew the money-back guarantee seal up to full size, making it fly off the product rather than sit quietly in a corner. Whites used a white tee against a white background, pink holding the whole thing together. Same skeleton, different personality.
The funnel ran KNOW/THINK/DO: challenge assumptions at the top (most people underestimate how fast Vanish works), show proof in the middle, make the comparison to everyday detergent explicit enough to convert at the bottom.
The brief was performance creative. What it produced was a character. Millie — Vanish's stain machine — is still on air three years in.
Role: Art Director
Agency: OLIVER Agency
THE GREEN JACKET
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HERO FILMS
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SOCIAL CUTDOWNS
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OOH
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AMAZON A+ B+ ASSETS
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BANNER ADS
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