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Inside Komodo’s Global Campaign With PrettyLittleThing

With coronavirus at its most disruptive in March, Komodo was struggling to live up to its mantra of “Never Do Normal”. As an agency that specialises in doing the most creative travel activations, utilising influencers and shooting amazing, engaging content; the question for us was – how could we do this with social distancing measures in place, and in some cases, many people around the world stuck in quarantine?

The Campaign Idea:

Over the lockdown period, the mother of Nick Seymour – Komodo’s Founder and Director – had a lightbulb moment and came up with the idea of shooting on drones, so that all those involved could still shoot whilst adhering to social distancing and other safety measures. This is when our talented Sydney team stepped in and brought the idea to life!

The next steps for the Komodo team were to all put our heads together and find a client that would be brave enough to be seen as really pushing the boat out creatively and one that we feel would do the campaign idea justice. PrettyLittleThing have always been known as the most forward thinking fast-fashion brand in the world (just look at their fashion shows!). Fortunately, they were everything you would wish for a client to be in terms of being extremely forthcoming with the idea and let us run with it. From here, the team needed to go away and work on the campaign – from the logistics, to the entire production.

Campaign Development:

With this being the world’s first campaign shot only on drone, we really wanted to make this obvious throughout the creative, so the concept we presented was Iso”slay”tion. This is ‘ISO-SLAYTION’, a global movement of women empowered by the girl in the mirror, taking the notion of loneliness and flipping it entirely on its head. Who said you need to have someone to look good for?

The campaign idea is that we showcase the girls feeling empowered, looking good, showcasting their inner sass in some of Australia’s most iconic places, that are (throughout COVID-19) isolated. We really wanted to hit home throughout the creative that isolation and social distancing still exists, however that shouldn’t stop anyone pushing the boat out and being as amazing as possible!

Planning & Logistics:

Once we had a basic narrative in place, the next task was to look at iconic locations within NSW that we could shoot drone footage. Of course, with all campaigns our ‘Never Do Normal’ approach has its limitations, and while we would have loved to shoot the iconic Australian places such as The Opera House, Harbor Bridge, Bondi Beach etc., it would be illegal for us to fly the drones here. So it was back to the drawing board.

Having fortunately done our individual due diligence in NSW as a state and been fortunate enough that there is so much beauty within the vast state, we realise to be in line with our creative idea of looking at deserts, islands, city; we found some amazing locations:

Fingal Bay Beach, Stockton Sand Dunes, The Entertainment Quarter and Carriageworks.

Influencers

At Komodo, we work extremely hard on ensuring diversity across our talent pool and on all activations, as well as working closely with our clients to ensure they are satisfied with the aesthetic we are striving to achieve. With the campaign being pushed out across web globally, and looking to gain as much press coverage out of the campaign as possible, the importance of our influencer selection was paramount.

We were delighted to welcome two of Komodo’s managed talent; Samantha Rayner & Kaela Tavares, and fortunate to also work with Ashleigh Menin, Ariella Nyssa, Bruna Lapinskas & Vakoo Kauapirura – some of Australia’s most popular influencers!

The Shoot:

With all Komodo shoots, we look to edit and get as much imagery on-the-go as we can, and throughout the shoot we had a constant feed of images and videos being sent into our Creative team for them to edit, retouch and share with the client; ensuring everyone is satisfied with how we are going with the styles and looks. We had three prime locations for our shoot; the first where we headed up to the coast of Newcastle, the second being more orientated around the “city” look, and the final location being at Carriageworks near Sydney city centre. We, of course, brought on specialist props for the shoot to really make the campaign stand out as much as possible, including G-Wagons and other personalised numbers to really bring to fruition the brand we are shooting for; in this case the Pretty Little Thing pink! We managed to secure an amazing “old school” building to shoot at, which ensured the campaign still maintained its high colour palette and really kept making the clothing and the models pop while we were shooting with them.

While we were out shooting, we had a team of styling, hair and make-up artists back in our office (all wearing masks of course!) making sure the girls were looking their best ready for their shooting throughout the city. On these “hectic” shoot days, it is of paramount importance we are utilising the full amount of time we had, and that is why we had such a team in place who could work so well with one another in making everyone look their best!

Throughout the shoot there were of course hurdles, as we had to be very conscious of the whole teams worries around COVID-19 and we had to maintain full social distancing throughout. The actual operation of shooting the models was even more difficult than we first envisaged – on a drone, the shutter speed of the camera varies to how a regular photographer would operate, so the models had to hold their poses for longer and, in turn, this meant that we had less “raws” that we would been able to use. Of course, with the models being as professional as they were, they full grasped the idea and concept behind the campaign and were completely understanding in this and innovative way of shooting.

Post campaign coverage and results

Following the launch of the campaign, Komodo received an extensive range of global press coverage; which across the media outlets, enjoy a daily readership of over 3.2 million. Coverage included write-ups in The Daily Mail, Fashion United and Australia’s iconic Mumbrella.

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