“GMA” sponsor Olay has teamed up with Joy Buolamwini, the subject of the documentary “Coded Bias,” who explains how beauty data can marginalize people of color.

Olay is launching a new campaign to help end discriminatory computer algorithms that skew standards of beauty, per an announcement emailed to Marketing Dive. The effort coincides with National Coding Week (Sept. 14-20).

Algorithmic Justice League founder Joy Buolamwini describes the coded bias as seemingly neutral machines propagating racism, sexism, and ableism while fueling overarching discriminatory attitudes.

Olay wants to root out the built-in bias in beauty images, launching a new campaign aimed at helping young coders-to-be.

The bias that exists in search terms has deep implications for Black women. Olay’s #DecodetheBias campaign is their impactful contribution to a solution.

The prevalence of algorithmic bias is more lamentable than it is surprising considering the dearth of diversity in the computer science field specifically and in STEM professions more broadly.

The #DecodetheBias campaign shows how beauty filters and search results cater to Eurocentric beauty standards.

CEW president Carlotta Jacobson talks the 2021 Women’s Leadership Awards, as well as the organization’s ongoing pivot to networking.

Madonna Badger, Holly Thaggard, JuE Wong, Monica Arnaudo, Lela Coffey, and Gail Boye and others were honored this year.

Honoring Female Leaders & Advocates Across The Beauty Industry

Honoring Female Leaders & Advocates Across The Beauty Industry

Madonna Badger, Founder-Chief Creative Officer of independent creative agency Badger & Winters, will receive the Cosmetic Executive Women (CEW)’s Lifetime Achievement Award at this week’s Women Leadership Awards.

An annual event, The Women’s Leadership Awards is a virtual, afternoon celebration of women and achievement, honoring beauty’s most accomplished female executives – CEW Achievers  and next generational leadership – CEW Emerging Leaders honorees.

Olympic gymnast Aly Raisman joined Jenna Bush Hager and Sheinelle Jones on the plaza to discuss Simone Biles and the current mental health push in sports. She also said what’s next for Team USA gymnastics and describes the feeling of relief that will wash over them after competing.

Every weekday we bring you the Ad Age/iSpot Hot Spots, new commercials tracked by iSpot.tv, the always-on TV ad measurement and attribution company. The ads here ran on national TV for the first time on July 27.

“I think it’s really important to not be defined by our wins or losses.”

The two-time Olympic gymnast opens up about the long-lasting health impacts of going for gold.

Madonna Badger, the founder and Chief Creative Officer at New York-based advertising agency Badger & Winters, is a trailblazer in her industry.

Badger & Winters, an independent creative agency focused building brave brands, received three Lion Awards for its #NoKidsInCages campaign during this week’s Cannes Lions International Festival of Creativity. The wins included a GOLD and SILVER Lion in Media categories; and an additional SILVER Lion in Design.

The virtual audience at the ongoing Cannes Lions Festival of Creativity saw Annabel Murphy, editorial lead, Next – Euronews, in conversation with Madonna Badger, founder and chief creative officer, Badger & Winters. The duo spoke about the lines between provocative advertising and objectification, and how to get the balance right.

With Boards of Change, the City of Chicago transformed boarded up storefronts during the racial protests in Chicago over the summer of 2020 into voting booths for the disenfranchised. The campaign by FCB Chicago also won a Black pencil and three wooden pencils at the 2021 D&AD Awards, and drove record voter turnout in Chicago.

Madonna Badger, the creative force behind #Womennotobjects campaign, discusses her aims and the legacy she wants to leave behind.

Dubbed the Lioness Who Roared, 30-year advertising veteran and founder of #WomenNotObjects Madonna Badger is Founder and Chief Creative Officer of Badger & Winters.

The COVID-19 pandemic has revealed the uncomfortable truth of an uncertain future. Yet, this uncertainty actually offers boundless opportunities, according to Pascal Finette, an internet entrepreneur and lecturer at the Silicon Valley think tank, Singularity University. During the recently ended Art Directors Club for Germany (ADC) congress, which ran from May 6-7, Finette called for greater inquisitiveness. “We have to be greedy about learning new things.

To celebrate Mother’s Day, Dick’s Sporting Goods put its women executives in the picture. Several appear in the minute-long spot below, offering guidance, reassurance and coaching to youngsters, including their own kids, who participate in sports and dancing.

On Sunday, Dick’s Sporting Goods will begin airing a 60-second spot showcasing its female executives as mothers, coaches and cheerleaders while their kids practice soccer, baseball, ballet and swimming.

“Inside Moves” highlights DICK’S female senior leaders and their efforts to support the Company’s growing female consumer base

In support of immigrant advocacy group Raices, agency Badger & Winters set up cages that appeared to have children sleeping inside.

The new ad campaign features the fictional goddess “Valentina,” who sports Cupid wings and bright, bold jewels.

Campaign US revealed the honorees for its third annual Female Frontier awards on Tuesday, celebrating female leaders and rising stars breaking boundaries in a historically male-dominated industry.

“Science is so inherent to Olay’s DNA, so we really want to help change what the face of STEM looks like,” Olay Brand Director Janelle Wichmann tells PEOPLE exclusively of the inspiration behind the float, which features a woman holding an astronaut helmet.

In episode 6 of our special, six-part series, Getting to Equal, advertising executive Madonna Badger, founder of #WomenNotObjects and founder and chief creative officer of Badger & Winters, talks to Carolyn Tastad, Group President, North America and Deanna Bass, Vice President, Global Diversity, Equality and Inclusion—both of P&G. Their conversation focuses on how each of us can use our individual voice, platform or influence to accelerate equality.

We don’t need to tell you that 2020 has been a particularly challenging year. But even if you take this year out of the equation, keeping a positive attitude no matter what life throws at you is hard. Jennifer Hudson, however, is a pro at it, and during our quick phone conversation to discuss her latest partnership with Olay, that couldn’t have been more apparent.

Bravery is only bravery when the stakes are high. In this session you’ll hear from creative leaders who didn’t just nearly lose an account, but everything. How do moments of high stakes bravery (which 2020 is not short of!) teach us to brave in our careers? The Redefining Bravery series highlights shared experiences through personal storytelling. The series allow a peek into the minds and experiences’ of the industry’s most respected creatives and marketers through a common thread: bravery.

Produced by Ascential’s 20/20 The Money Pot,  Madonna Badger was joined by top execs at PayPal and Mastercard to discuss ways in which companies can help fight systemic inequalities, challenge the financial community to think differently and make meaningful change that will have long-term impact.

Listen on Spotify

Badger & Winters is introducing its first creative campaign for new client Beautyrest that was developed under COVID-19 challenges.

This new campaign, falling under the umbrella “Sleep First Class” brand platform, promotes the Harmony Lux line of mattresses through animation, an overall blue palette, and art imagery.

The TV spot opens with a turtle swimming through an ocean before winding to transform into a mattress while a female voiceover details how each mattress is constructed with sustainable fabrics in partnership with SEAQUAL.

This is the ad Madonna Badger, founder and CCO of Badger & Winters and initiator of #WomenNotObjects and #NoKidsInCages, likes:

Every year, Ad Age surveys creative leaders around the world on who they believe will be the big winners at the Cannes Lions International Festival of Creativity.

The chief creative officer of Badger & Winters talks about dealing with tragedy on this episode of the ‘Ad Block’ podcast

We are proudly helping Beautyrest launch its new eco-friendly Harmony Lux line of mattresses. With the product rolling out just in time for Earth Day, our creative work will highlight how sustainable fabrics can serve the Earth while providing a luxury sleep experience. (A queen-sized Harmony Lux model uses the equivalent of 50 plastic water bottles rescued from the world’s oceans.) It’s an extension of our Beautyrest Sleep First Class campaign and brings to life the brand’s new partnership with Seaqual, a leader in the effort to capture and upcycle plastics from our oceans.

It might have been easy for Badger & Winters to fizzle after the campaign that put it on the map: #WomenNot Objects called out the industry for failing to respectfully portray women in ad campaigns. Instead, the agency has become the go-to shop for brands that want to build and maintain relationships with women.

The 45-person agency was projecting up to $20 million in revenue in 2019, bringing on clients including Citigroup, Le Pain Quotidien, additional Pepsico assignments, Intuit, QVC, Beautyrest and the National Hotline for Domestic Violence. The shop also expanded its remit for Procter & Gamble’s Olay with a literal moonshot, notching a Super Bowl ad earlier this year that featured female astronauts.

Super Bowl advertisers pushed entertainment and inspiration on Sunday night, reflecting marketers’ calculation that the game’s viewers mostly just want to feel good or do good.

Other than the Kansas City Chiefs, who won Super Bowl LIV? Everybody’s got an opinion. For starters, check out Ad Age Editor Brian Braiker’s review of all the ads (he was particularly fond of Microsoft’s commercial celebrating Katie Sowers, the first female coach in the NFL, and SodaStream’s Mars water commercial) and USA Today’s online-survey-driven Ad Meter (Jeep’s “Groundhog Day” homage starring Bill Murray tops that ranking).

One early analysis of social media reaction to the commercials during the game came from real-time measurement company Talkwalker, which crowned Olay as the top spot in the game based on 8.1 million social media posts regarding the Super Bowl.

The “#MakeSpaceForWomen” commercial has gotten 160,000 mentions on social media, or 20% of the conversation, including 60,000 after the ad aired. The spot featured Taraji P. Henson, Lilly Singh, Busy Philipps and astronaut NIcole Stott.

Super Bowl LIV is upon us, which means it’s time for one wildly important thing: commercials. (You thought I was going to say “football”? Please.)

We laughed, we cried, we cringed, we saw way too many movie references

Super Bowl LIV is in the books. The Kansas City Chiefs beat the San Francisco 49ers 31-20 in the big game on Feb. 2 at Hard Rock Stadium in Miami. But some viewers tuned in mostly for the spectacle, including Shakira and J.Lo rocking the halftime show and the famed Super Bowl commercials, which are often more like mini-movies than standard ads.

Women aren’t on the field in the Super Bowl, so at the very least they can star in some ads touting girl power.

Olay’s ad starred some superstar women astronauts, including Busy Philipps, Katie Couric, Taraji P. Henson, Lilly Singh and real-life NASA astronaut Nicole Stott, who retired in 2015. Skin care is important in space, too, evidently.

On Sunday evening, millions of people will tune in to the Super Bowl — and roughly half of them will be women. The commercials aired during the most-watched TV program of the year are finally starting to reflect that reality.

Olay is bringing the #MakeSpaceForWomen ad to the Super Bowl, following Taraji P. Henson, Lilly Singh, Nicole Stott and Busy Philipps in their quest to outer space. The ad, which is teased in the above video, also features Katie Couric.

Adweek has live reviews of all of the ads airing during Super Bowl LIV. Here are the spots that aired during the first half of the game through halftime and what we thought about them.

This year’s Olay Super Bowl ad features an array of well-known celebs, from Lilly Singh and Busy Philipps to Taraji P. Henson and Katie Couric.

The spot shows Singh and Philipps walking alongside retired astronaut Nicole Stott for a space mission. A voice-over asks, “Is there enough space in space for women?” Couric then responds, “Who wrote that? Are people really still asking that question?”

Super Bowl ads aren’t cheap. Fox reportedly charged as much as $5.6 million for a 30-second spot in the game this year. In a move to gain extra exposure and build buzz on social media, most companies release teasers — or even their entire commercial — before the big game.

That practice has become popular in recent years as brands work to create a coveted viral ad remembered among the best Super Bowl commercials of all time.

MIAMI — Nearly 30 years after Cindy Crawford showed up at a gas station in her Daisy Dukes and white tank top, flipping her hair while two young boys stared, women are again getting a prominent role in some Super Bowl ads.

Women accounted for 47% of total viewers of Super Bowl LI in 2017, according to Nielsen, and they represent 50.8% of the total population of the U.S., according to the Census Bureau, but you wouldn’t know it by watching commercials during the Big Game.

On this episode of ‘ChedHER’: 49ers coach Katie Sowers is the first woman and the first openly gay coach in Super Bowl History; Companies like Olay and Microsoft are putting females first in their ads for the big game; Melinda Gates’ VC firm is investing $50 million to support women in tech.

With partisan politics sucking all the air out of the culture these days, the Super Bowl sort of snuck up on us. But it’s here and the commercials continue to be a more celebrated and analyzed element of our shared national experience. At $5.6 million for a 30 second spot, there’s no more pretending the commercials aren’t an economic force and worthy of our attention.

The Super Bowl is the most expensive and valuable advertising day of the year, with marketers paying $5.6 million and up for a 30-second ad that can reach 100 million people.

A number of high-profile celebrities are lending their star power to this year’s Super Bowl commercials.

Opinion: For too long it’s been so heavily male–dominated.

Over $5.6 million for a 30-second spot—that’s $187,000 per second. And that is so much money. Obviously, the demo those ads are reaching, the group watching the Big Game live, is critical. And up until a couple years ago, you’d have been sure that that demo was a chip-chomping, beer-guzzling, man-boy. Except you’d have been wrong. Women have consistently made up about half of the audience. Yet the ads have consistently told them where they belong, what they should look like and how (or not) to use their voice.

Space comes and goes as a hot trend in advertising, but if this year’s Super Bowl spots are any indication, space travel and sci-fi are back in for brands. At least four brands—Olay, SodaStream, Turkish Airlines and Walmart—will air ads that tie into space exploration and aliens on Sunday, using the theme to announce new campaigns and initiatives, or simply boost brand messaging.

Who runs the world? GIRLS! Women are set to rule the commercials during #SuperBowlLIV. @dianermacedo >has more.

Lilly Singh has a bone to pick with Los Angeles. “Honestly, I think the winter in L.A. is still too cold,” the Canadian YouTuber-cum-late-night host tells us when we reach her by phone in California. “I’ve been scammed. I moved here with the expectation of tropical weather 24/7, and that is a lie.”

There is little question that female characters have been underrepresented in Super Bowl ads. A study that co-authors and I recently published in the Journal of Consumer Affairs showed that just 3.4% of Super Bowl ads over a ten-year period featured only female principal characters. While the same study showed growth in overall representation of women in Super Bowl ads, to date females have not been as well represented as males.

Given its awards season with the Grammys, Oscars, etc., I wanted to dish out my own awards for this year’s star-studded, Super Bowl 2020 celebrity commercials.

A look ahead to Sunday’s most highly anticipated ads during the big game, many of which feature female leads.

“Operation ‘Make Space for Women’ is ready for lift off.”

All-female cast promotes Twitter program to give money to Girls Who Code

Turkish Airlines has often taken pride in being the first brand from Turkey to advertise in the Super Bowl, but this year’s spot will also mark another international debut in the Big Game: its first Spanish ad agency.

Astronaut Nicole Stott, who stars in the Olay commercial alongside actresses Lilly Singh and Busy Philipps, talks to Know Your Value about the ad and gives her best advice to young girls and women interested in STEM.

On a panel called “Making space for women at the #SuperBowl,”@madonnabadger, Founder and CCO @badger_winters, speaks about using humor in the @OlaySkin commerical to speak to complex issues and how she’s tired of people blaming men for everything. #AdAgeInsideStories

Astronaut Nicole Stott, who stars in the Olay commercial alongside actresses Lilly Singh and Busy Philipps, talks to Know Your Value about the ad and gives her best advice to young girls and women interested in STEM.

Last year’s Super Bowl commercials included wild ads for Stella Artois, Olay and Pepsi.

Hint: It’s one of the three certainties in life

Microsoft’s Super Bowl commercial will celebrate San Francisco 49ers offensive assistant coach Katie Sowers, who on Sunday will become the first woman to coach in the big game.

Hello Super Bowl junkies…

P&G’s Olay is back for a second year at the Super Bowl. The brand is carrying forward the humor of its 2019 spot but, as its communications lead explains, this year’s production comes with a clear female message delivered by a stellar female cast: we deserve to be here in this ad break, and we deserve to be everywhere.

Hello Super Bowl junkies…

Procter & Gamble owns a slew of the world’s best-known CPG brands, from Tide to Always, SK-II to Head & Shoulders. In the conglomerate’s Super Bowl spot, several of those brands will be highlighted—in a single commercial.

The mood of the country at the start of a critical election year is heavily influencing the decisions Super Bowl advertisers are making, from the tone of ads to the casting and placement of commercials during the game airing on Fox Feb. 2.

Procter & Gamble Co. will have three ads in the Super Bowl, including Tide’s return to the game and a 60-second spot that will feature several brands and will be influenced by viewers.

I’m Jeanine Poggi, Ad Age’s senior editor, counting down to Super Bowl LIV. In a little over a week, the Kansas City Chiefs will take on the San Francisco 49ers at the Hard Rock Stadium in Miami. Leading up to the game on Feb. 2, which will air on Fox, Ad Age will bring you breaking news, analysis and first looks at the high-stakes, Big-Game commercials—all in our Super Bowl Alerts newsletter.

Beautyrest is introducing the mattress brand’s first brand campaign in nearly two years. The creative work is the first from new agency partner Badger & Winters.

The “Sleep First Class” campaign repositions the mattress brand to emphasize quality, in a change from campaigns in the category that too often stress price and delivery speed.

The campaign’s new tagline underscores this upscale messaging to encourage people to “sleep with first class.”

Beautyrest is launching a new brand campaign, Sleep First Class. This is the brand’s first new campaign in two years and it was created in partnership with Badger & Winters, Beautyrest’s new creative agency partner as of 2019.

With this campaign, the work positions Beautyrest as the best mattress, rather than the cheapest.

Sleep First Class reminds people that there’s a next level of sleep, and life, that awaits them when they upgrade to a Beautyrest mattress.

By the end of August, the United States Border Patrol had detained more than 800,000 individuals, including more than 70,000 unaccompanied children. Asylum seekers have found help from Refugee and Immigrant Center for Education and Legal Services (RAICES), a nonprofit supported by the #NoKidsInCages campaign that was conceived by the ad agency Badger & Winters.

Twenty-four cages were placed near locations with heavy foot traffic in Manhattan and Brooklyn. Each cage contained a child mannequin wrapped in a foil blanket and was accompanied by an audio recording taken at a detention center that documents crying children and Border Patrol agents mocking those children.

The power of women’s voices was front and center at this year’s Achiever Awards, as Cosmetic Executive Women (CEW) honored exceptional achievers in the beauty industry.

Recognizing the contributions of women in moving the industry forward, Carlotta Jacobson, President, CEW spoke at New York’s Hilton Hotel on October 18, 2019, at the 2019 Achiever Awards, calling attention to the abundant talent in the room.

For her 27th birthday this past May, Lucia Allain traveled to the border. A citizen now, she’d grown up undocumented in New York City, a Peruvian immigrant whose mother worked so many hours and spoke so little English that it fell to Allain to attend parent-teacher conferences for her little brother. Birthdays weren’t really a thing. But this year, as part of the traveling she does for her job, she went to El Paso to collect the stories of asylum seekers who’d come to the United States for refuge. The people she met had been allowed in, for now—the fortunate few who would get to plead their cases. But with court dates far in the future, the migrants had been deposited at a bus station. These were stories not of the triumphant “good immigrant,” who’d started a small business or become a doctor or an engineer. Theirs were stories like her own, which so often go unheard.

Recent years have seen purpose and cause marketing move from being a niche activity to a fundamental underpinning of corporate strategy among major corporations and brands, reaching near ubiquity in some industries.

Recent statements about purpose being placed on a par with shareholder value by 181 CEOs from the Business Roundtable and a letter to Senate leaders by 145 CEOs imploring the government to take action on gun violence show business is finally taking social issues seriously.

For Madonna Badger, Chief Creative Officer of Badger and Winters, there’s always been a big payoff from making bold moves. Whether it was her edgy campaigns for Calvin Klein or her shop’s viral hits like #WomenNotObjects and, more recently, the provocative #NoKidsInCages work, which garnered 120 million impressions overnight through guerrilla installations across NYC. Learn why this award-winning risk-taker’s advice to herself and others is all about embracing change.

Madonna Badger is behind some of the most popular ads for women as the co-founder of Badger & Winters. Madonna grew up in Newfoundland, Canada and pretty much always wanted to get into advertising. She credits a 1970s Revlon ad for Charlie perfume, which featured confident, seemingly powerful women.

Her dream turned into reality. First stop: Calvin Klein. Madonna worked on campaigns for Marky Mark and Kate Moss, until she left to create her own agency. At the time, she was only 30. Madonna has gone on to make a name for herself as the female empowerment advertising agency.

Badger & Winters was to join Plan A, but the deal announced last year was never finalized. Plan A, the alternative holding company formed by Andrew Essex and MT Carney, and Badger & Winters have backed away from plans for Badger & Winters to join the network as the agency splits with client JCPenney.

The unconventional deal shone a light on both the “alternate” holding company founded by the ex-Droga5 executive and the former president of marketing at Walt Disney Studios, and the agency it acquired, known as a leading voice for female empowerment in advertising.

If you’ve ever been called “too” something—too much, too ambitious, too emotional, whatever—you know it can be a gutting experience. The insult is apparently so common, women told Olay, they’re tired of hearing it. So instead of ignoring the “too” question, Olay decided to cross it out in the creative of its new campaign from creative shop Badger & Winters, in essence de-emphasizing the “too” and encouraging women to be themselves.

“We’ve talked to a lot of women, across many different ages and mindsets, and the commonality we’ve heard is that women are tired of being judged,” explained Sara Diepenbrock, Olay senior brand manager. “That’s the underlying theme throughout all of the creative, whether it’s too this or too that.”

New York-based creative agency Badger & Winters credits its strong female influence as one of the keys to its long-standing success. The shop emphasizes that its mission is to “infuse empathy and humanity in all the work we create,” and it prides itself on its prioritization of female leadership. About 70 percent of Badger & Winters’ employees—including 50 percent of its director-level staff—are women. The majority-female company makes it clear that it is unwilling to compromise the values it upholds, and in doing so, it hopes to lure powerful clients with similar morals.

On Wednesday morning, a bold guerrilla art installation appeared on the streets of Manhattan, calling attention to the plight of immigrant children currently being forced to live in cages in detention centers on the southern border of the United States. Each of the 24 sculptures depicted a small child, draped in a foil blanket and huddled on the floor of a tiny cage, with disturbing and real audio of crying children who have been separated from their families, recorded by news outlets.

An activist group has placed installations depicting child-sized mannequins wrapped in shock blankets in chain-link cages across New York City.

No Kids in Cages, an anti-family separation initiative, launched the moving campaign on Wednesday.

The purpose of the protest was to encourage lawmakers to support the Keep Families Together Act, which forces the state to keep all migrant families together unless there is reason to suspect trafficking or abuse.

La ciudad de Nueva York amaneció este miércoles con 25 jaulas que tenían dentro maniquíes revestidos en papel aluminio. Las figuras, que asemejan niños pequeños, están tendidos sobre una alfombra, como dormidos. Alrededor de la jaula, carteles que dicen #NoKidsInCages (No niños en jaulas, en español).

Cada jaula hace referencia a los miles de niños, en su gran mayoría centroamericanos y mexicanos, en centros de detención del gobierno de Estados Unidos en la frontera con México.

Pedestrians in New York may have noticed a startling sight while walking the streets yesterday.

Installations made to resemble children sleeping in small cages, wrapped in reflective blankets and accompanied by the message “#NoKidsInCages” were briefly installed around the city before being taken down by police. The installations combine the unsettling imagery resembling children wrapped in blankets with disturbing real audio from the detention centers of children crying out in distress.

Immigration reform advocates left child-sized mannequins in cages all around New York City early Wednesday morning to protest the treatment of children at immigration detention centers.

The marketing firm Badger & Winters, in support of The Refugee and Immigrant Center for Education and Legal Services (RAICES), set up the cages in front of Google and major news organizations throughout the city. The displays included audio of children wailing that RAICES said were recordings of actual detained children crying, obtained by ProPublica in their investigation of families being separated at the US Border.

It is a pop-up art installation of the most dystopian kind: Small kids curled up underneath foil survival blankets in chain-link cages, with audio of crying detained children wailing through speakers, dropped onto sidewalks throughout New York City.

The guerrilla art installations, 24 in all, were plopped in front of the offices of news organizations, Google and highly trafficked areas of the city on Wednesday, depicting the most vivid sounds and migrant children detained by federal authorities at the U.S. southern border.

Police in New York are reportedly using chainsaws to tear down a series of installations to protest the treatment of immigrant families at the U.S.-Mexico border—just hours after they first appeared on Wednesday morning.

Earlier, thousands of New Yorkers had their journeys to work interrupted by the disturbing sights and sounds of what appeared to be children sobbing inside locked cages at 25 locations all over the city. The installations were part of a protest by Raices, the nonprofit committed to protecting border-crossers, against the Department of Justice’s Zero Tolerance Immigration Enforcement Policy. Raices teamed up with independent agency Badger & Winters to launch the #NoKidsInCages campaign to raise awareness of the practice. The cage installations used dummies, of course, and not real children.

All the energy now in advertising is with small agencies. In the last couple of years, a slew of creative superstars left the holding companies and big agencies to start their own agencies. Among them Mark Fitzloff, former chief creative officer of Wieden & Kennedy; Anselmo  Ramos of the David Agency; Jeff Kling of Fallon; Jaime Robinson of Pereira & O’Dell; Eric Kallman of Goodby Silverstain; Izzy DeBellis of KBS; Craig Allen of Wieden; Mike Geiger of JWT and Jason Peterson of Havas. Add to these two hotshot London agencies, Adam&Eve and Lucky Generals which opened NY offices, and the continued success by a number of small shops like Fig, EP+Co., Mekanism, Terri & Sandy, Bullish, Johannes Leonardo, Badger & Winters, Preacher and Barton F. Graf, as well as the more established Droga5, Anomaly, Wieden or 72andSunny.

Asking an agency to pick its favorite 2018 work from its own catalog is a pretty easy task. Slightly more daunting, however, is asking one to select the best ads or campaigns other agencies created throughout the year. There are thousands to choose from and, in 2018, there was a wide range of opinion on peers’ work.

Some were traditional ads, others were campaigns and activations that moved (and sometimes made fun of) culture. There were Cannes Lion winners and creative that we may see take home a Lion or two next June.

Since its launch last year, HP’s “Reinvent Mindsets” campaign has shown how unconscious bias negatively impacts talent. Powerful and moving ads targeting the African-American, female, LGBTQ and Latino communities have demonstrated the range of issues each face, whether it’s in the workplace or life. The brand continues to tackle the issues head-on with a commitment to diversity and inclusion that is proving to be among the best in the tech industry.

Women are constantly being told not just how to look, but how to act, speak, and even think across societies and cultures around the world. It’s no wonder, then, that so many women feel they’re constantly faced with conflicting expectations on how they should look, feel, or behave. To do their part in putting an end to this damaging and never-ending internal battle, Olay is launching a new movement, hoping to inspire women to have the confidence to be unapologetically bold.

Olay has unveiled a new purpose-led push, ‘Face Anything’, investing in a 10-page spread in Vogue’s September issue to launch the campaign alongside a makeup influencer drive.

Kicking off today, the initiative from the skincare brand wants to put an end to the idea that women are “too” anything — whether that’s “too ambitious”, “too emotional” or otherwise.

The campaign was founded on the insight that 54% of women prefer a “natural look” but 84% feel pressured to conform to the beauty standards.

Procter & Gamble Co.’s Olay has tapped Badger & Winters for a new #FaceAnything campaign, which breaks with a spread in Vogue and will expand to Times Square and Grand Central placements, events and social media.

Publicis Groupe’s Saatchi & Saatchiremains agency of record on Olay, which has seen a turnaround this year after years of struggles. But Chris Heiert, the brand’s North America and global VP, says he still wanted to add a shop, taking advantage of the “flow” side of P&G’s new “Fixed and Flow” model, which combines a broad agency of record with projects for other.

Last week, Campaign US announced the honorees for its Inclusive & Creative Top 20 at an event in New York City, which included a panel on diversity and inclusion.

Panelists Sophie Kelly, senior vice president of marketing for Diageo whiskey brands in North America; Madonna Badger, CCO and founder of Badger & Winters; and Jackson Jeyanayagam, CMO at Boxed Wholesale; offered honest views on the industry today.

“You cannot have diverse skill sets and outputs without inclusion,” said Sophie Kelly, senior vice president of marketing for Diageo whiskey brands in North America.

This was the resounding belief from panelists at Campaign US’ annual Inclusive and Creative Top 20 in New York City on Wednesday night.

CANNES, France—Madonna Badger stepped on stage wearing black at the Cannes Lions closing awards show Friday night and delivered a stirring speech that summed up several recent movements to lift up women in an industry and world that has often held them back.

“Yes, she is equal, and yes we are definitely women not objects,” she told an audience that included the the globe’s most successful advertising professionals.

Libesse’s “Blood Normal,” a campaign that put period blood front and center to help destigmatize menstruation, earned the Glass Lion for Change Grand Prix on the final night of the Cannes Lions International Festival of Creativity. The category honors work that promotes positive cultural change affecting gender inequality and imbalance.

“It’s a masterfully art-directed, very well thought-out, multilayer campaign that sheds light on the dark corners of period shame,” said Jury President Madonna Badger, founder and chief creative officer of Badger & Winters.

Well, not exactly. But girls are making progress at the Cannes Lions International Festival of Creativity and this year has provided the strongest signal yet that things are changing for women in marketing and just about every related discipline.

Notably, female initiatives that are hashtagged are inescapable. #SeeItBeIt. #MoreLikeMe. #SheIsEqual. #SeeHer. #SheInnovates.

It’s three years since the Cannes Lions Festival of Creativity introduced one of its most fascinating awards categories. Glass: The Lion for Change exists to appreciate creative work that shifts culture. To win in this category, an idea needs to try to change the world, to make a positive impact against ingrained gender inequality, imbalance or injustice. As the festival officially defines it: “The Glass Lion recognises work that implicitly or explicitly addresses issues of gender inequality or prejudice, through the conscious representation of gender in advertising.”Madonna Badger, chief creative officer at Badger & Winters, is an ideal choice for Glass jury president. In 2016 she announced that she and her agency would no longer create imagery that objectifies women and began the #WomenNotObjects initiative, which went on to win the first-ever United Nations award for Social Development Goal #5 – Gender Equality. This crusade against sexist advertising continues, two years on.

Advertising executive Madonna Badger overcame the unthinkable to find a new purpose – championing women in a male-dominated industry

‘I started at Calvin Klein, where I organised the Marky Mark and Kate Moss campaign. At 29, I set up my own company, Badger & Winters, and worked on beauty and fashion accounts with almost every major designer. I married and had three girls: Lily, born in 2002, then twins Sarah and Grace, born in 2004. In 2009, 
I divorced my husband amicably and bought a beautiful Victorian house on the water in Stamford, Connecticut. However, in the early hours of Christmas morning in 2011, the house caught fire. My three girls, who were asleep on the top floor, died almost instantly. My parents, who were staying with me at the time, also died trying to save them. When I finally woke up, I climbed out of the window on to the scaffolding outside to try to get to the girls, but the smoke was so awful I couldn’t get in their room. After living with a friend for a year, I went back to the agency in 2013. I was trying to find a reason to be here. I kept thinking, “Why did I get left? Why am I here and what am I going to do?”’

Now in its fourth year, the Glass Lion: the Lion for Change continues to draw together many of the world’s best campaigns confronting gender bias and stereotypes in advertising.

Launched in 2015, with Cindy Gallop presiding as inaugural jury president, the Glass Lion’s first Grand Prix went to BBDO India and Procter & Gamble India for a campaign that smashed stigmas about menstruation in the country. In 2016, India retook the top prize as a Unilever tea brand, with help from Mindshare Mumbai, created the country’s first transgender pop group. Last year, Fearless Girl for State Street Global Advisors added the award to its impressive list of wins.

Welcome to Adweek’s second annual Disruptors list, our celebration of women who are not only shattering the glass ceiling but advancing the cause of diversity and inclusion. Not satisfied with the status quo, these executives, entrepreneurs and innovators have taken the lead, upending existing power dynamics while breaking down one barrier after another. Read on to find out about these 39 dynamic women in advertising, media, marketing and technology who are changing the rules of engagement.

Just two months after awarding its creative business to New York-based Badger & Winters, JC Penney is debuting a new tagline and creative campaign. The Plano, Texas-based retailer is now pushing a “Style and value for all” message in its all of its marketing.

Marci Grebstein, who joined JC Penney as chief marketing officer last year, says that the company researched consumer perception of the 116-year-old brand and found that many shoppers did not think of JC Penney as a fashion destination.

JC Penney is celebrating the new year with a new agency. The Plano, Texas-based department store recently parted ways with McGarryBowen, its agency of record since 2015, and has awarded its account to New York-based Badger & Winters.

Partnering with Badger & Winters, an agency known for powerful, social-driven campaigns such as #WomenNotObjects, marks a new direction for the retailer, which hired Marci Grebstein as CMO in May. New work is expected to debut this spring.

A new Procter & Gamble Co. commercial that promotes gender equality was recognized today as one of the most effective marketing efforts in the nation based on viewer reaction.

The “#WeSeeEqual” commercial released March 1 by the Cincinnati-based maker of consumer goods such as Pampers diapers (NYSE: PG) elicited a strong emotional reaction among people who viewed national advertising.

Ace Metrix, which measures analytics for television and online video advertising, listed the P&G spot among the Top 10 Breakthrough Ads from the first quarter of this year. The P&G ad was ranked No. 4 based on likability and the ability to capture a viewer’s attention.

Here they are: the winners of the first-ever World Changing Ideas Awards. We sifted through more than 1,000 truly impressive entries to find the ones our panel of judges thought were the best combination of creative problem solving and potential to change our world for the better. We have crowned 12 winners–along with 192 finalists–which you can read more about below (make sure you also read our predictions for the world changing ideas of next year). Each of these projects represents the best of social entrepreneurship, where innovation and impact are intersecting.

Procter & Gamble, one of the world’s highest-spending advertisers, has released an ad ahead of International Women’s Day on March 8, in its latest gender equality initiative.

The ”#WeSeeEqual” ad, made up of a montage of scenes showing men, women and children in everyday situations, is interspersed with text, such as “Hugs don’t care who give them,” and “Equations don’t care who solve them.” It finishes with a woman telling a younger co-worker “Do it,” with the line “Equal pay doesn’t care who demands it.”

Procter & Gamble Co. is tying its brands’ efforts against gender bias together in a new corporate #WeSeeEqual digital campaign linked to International Women’s Day coming March 8.

And to back the effort, the world’s biggest advertiser has tapped the small agency that successfully battled to change guidelines at Cannes to discourage juries from honoring ads that objectify women.

Badger & Winters‘ own #WomenNotObjects campaign played a role in winning the assignment from P&G. But the corporate project started last year well before the agency’s effort won a concession from the International Festival of Creativity last month to change judging guidelines.

One year after creative agency Badger & Winters anonymously released its “We are #WomenNotObjects” video on YouTube, igniting a viral sensation and an ambitious campaign to stop the objectification of women in advertising, it’s not hard to find sign of progress.

Cannes Announced Gender Bias Ban With Help from #WomenNotObjects on Monday.

Pete Favat, chairman of the 2017 International Andy Awards, and Gina Grillo, president and CEO of the Advertising Club of New York, are asking other industry award shows to ban work that reflects gender bias.

Earlier this week, Ad Age reported that the Cannes Lions International Festival of Creativity has agreed to tell all jurors in their briefings before judging not to recognize work that objectifies or perpetuates negative and harmful inequalities related to gender. The gender bias ban resulted in part from petition written after last year’s Cannes Lions by Badger & Winters Chief Creative Officer Madonna Badger, who helped ignite the gender conversation with her “#WomenNotObjects” initiative in early 2016.

Madonna Badger began a petition after last year’s Cannes Lions urging the festival to avoid awarding ads that objectify women.

The ad industry’s largest annual event and awards program, the Cannes Lions International Festival of Creativity, has agreed to caution jurors not to recognize work that reflects gender bias.

“Work that objectifies, perpetuates negative and harmful inequalities and gender bias hurts all of us,” the festival will now tell all jurors in their briefings before judging. “The criteria for knowing if a submission is objectifying or gender-biased is empathy. Use your heart and mind to determine if the submission is acceptable to you. What if the person portrayed in image or copy was you? Or your daughter or son, sister, father or mother… would you be O.K. with the portrayal? Do you feel they are being treated as whole, human and equal, and how you would like to be treated?”

Country singer Carrie Underwood has established quite a resume since she burst on the scene about a decade ago. Seven Grammy awards, a dozen Country Music Awards—and of course her victory on the “American Idol” stage back in 2005.

But Underwood’s side gig is also racking up some impressive success. She steers her own athletic apparel line called Calia, which will celebrate a two-year anniversary early next year.

Seven years ago, Madonna Badger survived a terrible and unimaginable tragedy when she lost her three children and parents in a house fire. Today she is an advocate to remove all objectification of  women in ads, in honor of her daughters.

As a co-founder of a successful agency in New York, her life was all about advertising and her work helped her to regain her dignity and find a new reason to be alive.

“As women, we will not be treated as equal until we are portrayed as equal,” says the keynote speaker.

Marley Dias, the 11-year-old founder of 1,000 Black Girl Books, once complained to her mother that her school’s required reading centered on white male protagonists. Dias’s mom asked her, ” What are you going to do about it?”.

SheKnows Media has decided the winners of the second annual #Femvertising Awards, which recognize brands that create ads with the purpose of retooling the way we think about gender stereotypes.

The winners are slated to be announced during the company’s Advertising Week panel, “The Key to Next-Generation #Femvertising: Ever-More Authentic Portrayals of Humans,” later today.

Honors will be awarded to brands in categories like Humor (Bud Light for “The Bud Light Party: Equal Pay”), Social Impact (Badger & Winters for “#Women Not Objects”), Inspiration (Under Armour for “Rule Yourself: Women’s Gymnastics”), People’s Choice (RedElephant), Wildfire (General Mills won for its agency diversity initiative), and Next Generation (Girls Who Code for “Why Girls Can’t Code”).

While the #femvertising movement is seeing brands and advertisers think differently about how they portray women in their communications, the temptation to create content that sexualises women for clicks is still prevalent in the industry, with creative directors ‘picking up the sexist paintbrush’ to generate more eyeballs, according to Madonna Badger, co-founder of agency Badger & Winters.

Drawing on Teleflora’s recent Cannes Lions Gold win that ran with the campaign line ‘Our job is to make the finest bridal bouquets, your job is not to sleep with the bridesmaid’, Badger said until awards bodies stop rewarding sexist campaigns, then equality in pay and in media portrayal of women will continue.

In an emotive campaign from Dick’s Sporting Goods, promoting its Calia by Carrie athleisure brand, singer Carrie Underwood returns to her hometown in Oklahoma and meets young female athletes to talk to them about their love of sports.

The spot, created by Badger & Winters, explores what sport means to the young girls she meets in Checotah, Oklahama, each with different backstories. One girl, coming home to cook dinner every night for her sister, says without sport, she doesn’t know where she’d be. Another, who loves horses, has ambitions to become an interior designer but doesn’t believe it can happen. Underwood seems visibly moved by their stories, emotionally reflecting on what sports meant to her growing up as a keen athlete, and how it helped her become the person she is today.

Last year, Madonna Badger and Jim Winters decided to focus their New York-based shop more on purpose, a shift that “has given everyone that works here a sense of inspiration, passion and pride in what they do every day,” said Mr. Winters. The first major manifestation of the change debuted this January with the “#WomenNotObjects” campaign, which includes hard-hitting videos aimed at halting the objectification of women in advertising. In addition to that initiative, which has received support from women’s organizations, universities, brands and even celebrities, the 40-person agency helped Avon engage millennials and increase sales last year with the global “Beauty for a Purpose” campaign. Some other clients include Calia by Carrie Underwood, Starboard Cruises and Naja.

Badger & Winters CEO and founder of #WomenNotObjects Madonna Badger meets Cannes Lions TV to explain the importance of empathy in communications, and why the industry needs to make a pledge against the objectification of women.

CANNES, France—”You know what sex sells?” Madonna Badger asked a capacity crowd at the Cannes Lions International Festival of Creativity today. “Sex. It actually hurts our brands.”

The Badger & Winters chief creative officer has become one of the industry’s leading advocates for ending the practice of objectifying women in ads via her #WomenNotObjects campaign. On the first full day of the 2016 festival, she introduced the newest short film in that campaign, this time illustrating the effects that sexualized ads can have on a crucial but often negated consumer group: children.

At Cannes, Madonna Badger says sex sells, not brands

The pressure on Madison Avenue to reexamine how it portrays women in advertising is in the spotlight.

The audience at the Lumiere Theater at Cannes today might have expected another presentation of creative in the session “Sex, Lies and Advertising.” Instead, they got a moving and brutally personal story of how the campaign’s creator lost her children and parents in a fire and how that helped spawn an effort to halt objectification of women in advertising.

Clad in white and standing alone onstage in a spotlight, the co-founder of Badger & Winters told her story very simply, beginning with her youth in Newfoundland, Canada, and her wish to grow up to be in advertising, just like confident woman in the Charlie perfume campaign of the 1970s.

Back in January, Manhattan-based agency Badger & Winters launched its “#WomenNotObjects” campaign, taking a stand against the long-running practice of sexual objectification in advertising. Today Badger & Winters chief creative officer Madonna Badger introduces a follow-up spot during a presentation at Cannes Lions International Festival of Creativity.

“You know what sex sells?” she asked the crowd at her “Sex, Lies and Advertising” presentation (named in reference to a Gloria Steinem article). “Sex. It actually hurts our brands.”

These Dynamic Executives Are Leaving Their Mark on the Industry

For two decades, Advertising Age has been recognizing women who have made indelible contributions to the worlds of media, marketing and advertising. This year’s class kicks off the next decade with an impressive group of achievers who are making a mark on the industry and are helping to shape it for the future. These are the women inspiring the next generation of leaders.

Naja wants to redefine nude.

The intimate apparel brand, which was started in 2013, is introducing Nude for All, a collection of bras and underwear that come in seven shades of nude.

“Nobody has ever done seven shades,” said Naja’s founder Catalina Girald, who added that unlike other intimate apparel brands that offer different variations on nude, Nude for All doesn’t only cater to women of color.

When Catalina Girald saw Olympic gold medal-winning gymnast Gabby Douglas compete in the 2012 Summer Olympics, it sparked an interesting product idea. Girald, a former gymnast, herself, was taken aback by the fact that Douglas, who is African-American, was wearing a “nude” ankle wrap that didn’t match her skin tone.

“I wore ankle wraps many times and hadn’t ever thought about the fact that they don’t make them in other colors. It made me realize that ‘nude’ is not ‘nude’ for everyone,” Girald said.

Advertising executive Madonna Badger uses four criteria to determine whether an ad objectifies women:

Prop: Does the woman have a choice or voice in this situation?

Part: Is she reduced to just a sexually provocative body part?

Plastic: Is the image manipulated to the extent that the look is not humanly achievable?

What if: Would you be comfortable to see your sister, best friend or yourself in this image?

These questions shape the creative process at Badger & Winters, the advertising agency Badger founded in 1994 that specializes in communicating to women. If the answer is yes to any of the first three questions, Badger says the concept will not be approved.

In 1957 a social scientist by the name of Vance Packard wrote a book called The Hidden Persuaders. In it he explored how advertising manipulates consumers, claiming that ad people can “subliminally” influence our actions. He pointed to a magazine ad with ice cubes in a glass of whiskey and suggested that the brand appeals to men because the ice cubes called to mind parts of a woman’s anatomy.

Viral Video Highlights Objectification of Women in Ads — And Brands Respond

A hard-hitting video that aims to halt the objectification of women in advertising has taken adland and the internet by storm, causing some brands to defend themselves while others – along with celebrities and nonprofits – have jumped in to support the cause.

The creator of the two-minute film, #WomenNotObjects calling out ads that show up when you Google the phrase “objectification of women,” said she has received tremendous support and positive feedback. Madonna Badger, a principal at Badger & Winters, has said she did the video to honor her three daughters, who were lost along with her parents in a 2011 house fire.