Gold
Design
Craft: Art Direction Campaign
| Entrant: | Dentsu Inc., Tokyo |
| Brand: | NIKKA WHISKY - No Labels |
| Title(s): | "Brand Movie", "Posters", "Billboard", "Newspaper Inserts", "Brand Book", "Bar Space", "Bar Tools", "Lifestyle Goods" |
| Corporate Name of Client: | ASAHI BREWERIES, LTD./THE NIKKA WHISKY DISTILLING CO. LTD |
| Client Companies: | ASAHI BREWERIES, LTD. / THE NIKKA WHISKY DISTILLING CO. LTD, Tokyo |
| Media Company: | Dentsu Inc., Tokyo |
| PR Company: | Dentsu Inc., Tokyo |
| Agency: | Dentsu Inc., Tokyo |
| Agency Executive Creative Director: | Yoshihiro Yagi |
| Agency Creative Directors: | Nobuake Hashimoto/Kosuke Shinshi/Haruko Tsutsui/Shohei Maeda |
| Agency Copywriters: | Eriko Ishibashi/Minami Nakazawa |
| Agency Art Directors: | Hiroyuki Kato/Rinshiro Fujiki |
| Agency Chief Producer: | Nao Yamazaki |
| Agency Producer: | Miyuki Takizawa |
| Agency Assistant Producer: | Saya Yamamura |
| Agency Spatial Design Producers: | Hiroki Nagakawa/Kouhei Murata |
| Agency Account Executives: | Kotaro Mita/Yasuhiro Shimada/Masahiko Hibino |
| English Copywriter: | Scott Lehman |
| Production Companies: | lull inc., Tokyo/Pyramid Film, Tokyo/Dentsu Live Inc., Tokyo |
| Production Companies Director(s): | Takuya Demura/Mami Kawashima |
| Production Company 1st AD: | Risa Nakatomi |
| Production Companies Producer(s): | Masaharu Nakashima/Junki Yoda |
| Production Company Art Director: | Daisuke Hatakeyama |
| Production Companies Production Managers: | Mitsuhiro Koga/Youta Suzuki |
| Production Companies Production Assistants: | Masamune Hatano/Kaisei Teramura |
| Camera 1st Assistant: | Hitomi Yamamoto |
| Special Equipment: | Yasuhito Ogasawara |
| Video Engineer: | Katsuyuki Hata |
| Lighting Director: | Kenji Sudo |
| Lighting 1st Assistant: | Hideyuki Takaya, Ryotaro Taki |
| Tabletop Director: | Noriko Saotome |
| Production Designer: | Kengo Inoue |
| Creative Producers: | Masakazu Toyooka/Asami Sato |
| Producer: | Tomoko Takahashi |
| Edit: | Kanta Watanabe/Ryosuke Murakami/Masaya Yoshida/Ayumi Kato |
| Color Companies: | L'ESPACE VISION CO., LTD, Tokyo |
| Color Company Colorist: | Haruhiko Takayama |
| Music: | Katsuya Yamada/Haruka Nakamura/MabanuaTYToru Sasaki |
| Design Company: | Creative Power Unit, Tokyo |
| Design Company Designer: | Masashi Fujita |
| Photography Studio: | Fumihito Katamura Photograph Office, Tokyo |
| Photographer: | Fumihito Katamura |
| Retoucher: | Sunao Sakurai |
| Printing Director: | Shinya Tamura |
| Casting Company: | EXILESHYPE.inc, Tokyo |
| Casting Agent: | Ryohei Shono |
| Barman: | Jun Nakamura |
| Choreographer: | Maru |
| Stylist: | Toshio Takeda |
| Hair & Make-Up: | Shinji Konishi |
Cultural Context:
In Japan, the market has been uniquely shaped by widespread popularity of the highball (whisky and soda), which has been aggressively advertised by many whisky producers.
This has created a highly polarised market, sharply divided between premium brands and mass-market products. It is within this context that whisky brands have traditionally competed for the attention of Japanese consumers.
Overseas, Nikka’s premium whiskies are highly acclaimed, but most Japanese are unaware of this, and of the company’s long history. In fact, Nikka’s founder was the first distiller to make pot still whisky in Japan.
And despite initial local resistance to the taste of whisky, he firmly believed that Japanese people would — and should — eventually learn to appreciate rich flavour of genuine whisky.
Through dramatic use of silhouettes, we created a new visual storytelling language that does not rely on the name of the product or people’s faces to deliver its message. By illuminating the essence of whisky itself, we redefined whisky culture for the consumers of today.
To maximise impact, we also eschewed separate brand communications for individual products. Instead, we unified communications under the concept of a ‘Nikka Master Brand’, that encompassed the diversity of ways in which whisky can be enjoyed. In our visuals, we also deliberately avoided the use of the ‘sizzle’ imagery commonly used in alcoholic beverage advertising, and adopted a more artistic style to spark the imagination of our audience.
And instead of mass marketing, we strategically launched our campaign from Tokyo’s Omotesando district, an area that is home to many upscale fashion and lifestyle brands, and targeted early adopters and influencers who could help drive top-down message dissemination.
Customers at the flagship bar exceeded targets by 150%, earning media exposure valued at 380 million yen*2 and a 524.5% improvement in brand image.*3 In an era of declining alcohol consumption, the campaign resonated with younger, non-traditional whisky drinkers, generating buzz on social media that extended beyond alcohol to lifestyle products, further embedding Nikka into modern culture. By launching in Omotesando, we moved beyond traditional mass-market whisky advertising and redefined Nikka’s place in the contemporary luxury market.
The domestic success of this initiative also led to discussions about rolling it out in global markets from 2025 onward. Through it all, we transformed the Nikka brand and consumer perceptions of whisky, redefining them beyond labels, conventions, and expectations.
*1 112% sales increase based on 2024 global sales of Nikka brand western-style wines and spirits (excluding Japanese shochu and sake).
*2 JPY380 million media exposure value (approximate) based on highest single-day Flagship Bar customer traffic. *3 524.5% improvement in brand image based on a survey of Flagship Bar patrons and non-patrons asking if they felt Nikka had a ‘youthful’ brand image.