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    Home » The Best Work You May Never See: Primark, VCCP, Director Nadia Marquard Otzen Confidently Declare “In Denim We Can”

    The Best Work You May Never See: Primark, VCCP, Director Nadia Marquard Otzen Confidently Declare “In Denim We Can”

    By SHOOTMonday, September 1, 2025No Comments383 Views
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    International fashion retailer Primark launches a campaign celebrating the power of great denim without the premium price tag, “In Denim We Can.” Created by global creative agency of record VCCP, the campaign is the first expression of Primark’s new brand platform “That’s So Primark” in the UK.

    The campaign kicks off with this hero film, Primark’s first ever U.K. TV spot. Directed by Grammy award-winning filmmaker Nadia Marquard Otzen through Academy Films, the spot was choreographed by acclaimed movement director Ryan Heffington. Set to a 1979 cover of “I Heard It Through The Grapevine,” by London-based, women-only 70s punk band The Slits, the spot shows women dressed in Primark denim moving through their morning routine: waking up, brushing their teeth, getting dressed, leaving their homes and making their way across the city–moving with power, freedom and confidence. The result is a dynamic, dance-led visual celebration of the spirit you feel when denim fits just right: strength, resilience, and freedom of movement.

    The campaign was produced by Girl&Bear, VCCP’s global content creation studio, with PR led by Weber Shandwick and Momentum. Media strategy and buying was managed by Publicis Media UK.

    Nikki Lindman, creative director at VCCP, said, “’In Denim We Can’ brings to life the universal truth–that strength is found in denim, not just as clothing, but as a feeling. We all know that when we slip on some fab fitting denim, we feel stronger, tougher, capable, sassier–it’s confidence in fabric form, basically.”

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    Credits

    Client Primark Agency VCCP Nikki Lindman, creative director; Katy Stanage, Alice Marani, creatives; Niamh McBride, Rose Power, jr. creatives; Hannah Wood, integrated project director; Diana Turchi, sr. integrated producer; Ant Borkett, Rosie Good, AV producers; Gabriele Widenmann, creator/motion designer. Production Academy Films Nadia Marquard Otzen, director; Darapen Vongsa-Nga, exec producer; Steve Overs, producer; Zoe A’Court, production manager; Ben Fordesman, DP; Clara Paris, 1st AD; Ryan Heffington, choreographer; Josh Lamb, choreographer assistant; Lorna McGee, wardrobe stylist; Mina Ferkov, production designer. Casting Plue Agency Mark Summers, casting director. Local Production Company Division Rok Luneznik, exec producer; Leila Mirah, producer; Spela Bajc, line producer; Nina Jesih, production coordinator. Editorial Final Cut Darren Baldwin, editor; Carter Clarke, assistant editor; Nikki Porter, edit producer. Sound Design 750mph Sam Ashwell, sound designer; Olivia Ray, head of production; Carla Thomas, producer. Postproduction Electric Theatre Collective Luke Morrison, colorist; Emma Hughes, producer; Bettina Pittaluga, photographer; James Ketterer, post producer; Brad Barauder, editor/animator; Clary Vikstrom, design director; Tegan Barnes, Dan Kearney, Ayesha Handy, designers; Sarah Philip, studio manager.

    Media Type:Commercial: Television
    Video Tags:Academy FilmsNadia Marquard OtzenVCCP



    Top Spot of the Week: Sam Gainsborough Directs An Inflated Spectacle For Clash Royale

    Thursday, April 16, 2026

    Directed by Sam Gainsborough via Blinkink, this film from agency Uncommon Creative Studio transforms video game Clash Royale’s beloved characters into an extraordinary balloon-built world, where more than 10,000 real twisted balloons were used to forge every aspect of what you see on-screen. In this surreal universe, the balloon nature of the characters is never questioned--it simply is. The Goblin trembles in genuine fear. The Barbarian rages with helpless fury. The King, confronted with an impending explosion, quietly accepts his fate.

    To bring this ambitious vision to life, Gainsborough involved Airigami, a team of expert artists who create large-scale installations, illustrations, and experiences entirely out of balloons. Each character was meticulously handcrafted to ensure immediate recognizability while embracing the uncanny qualities of their inflated counterpart. Through extensive pre-production, the team refined not only the likeness of each figure, but also the physical behavior of the balloons, carefully designing how they expand, where pressure builds, and how their forms distort under strain.

    Working across multiple scales, the artists achieved remarkable levels of detail, allowing for both intimate character moments and large-scale visual impact. The cinematography also draws heavily from the horror genre, using extreme close-ups, dramatic angles, and dolly zooms to build tension and amplify the expression of each puppet.

    As the pressure mounts, the characters swell beyond their limits; their balloon forms pushing against the letterbox frame itself, visually reinforcing the escalating tension while also nodding to the film’s underlying absurdity. The climactic moment delivers a visceral payoff: balloon explosions captured at... Read More

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