| Titel | KFC Suppertime Stories |
| Agentur | Ogilvy South Africa |
| Kampagne | KFC Suppertime Stories |
| Werbende | KFC |
| Marke | KFC |
| Datum der ersten Ausstrahlung/Veröffentlichung | 2017 / 6 |
| Geschäftsbereich | Gastätte & Schnellgaststätte |
| Story | I must tell you how important reading and the telling of tales is for the younger folk. For children, a love of stories may lead to better-developed reading skills from an early age which will also assist in their academic careers, impart a love of learning and lead to higher grades in every subject. In addition, reading has been found to promote greater maturity, increased discipline and spark curiosity in the world, as well as to an interest in problem-solving and creativity. This tradition of storytelling is being celebrated in KFC’s limited edition campaign, “KFC Suppertime Stories”. The idea is based on a simple concept: “Mealtimes are often disrupted by technology. What if we used technology to bring families together?” The iconic KFC bucket has been given a makeover, with a specially illustrated and laser-cut sleeve which slips over the bucket and may then be removed once you’re at home. Customers are invited to download a special Suppertime Stories smartphone app. Type in a code that is printed on the sleeve, and place the inverted bucket sleeve over the phone, with the torch/flash light facing upwards. Then switch off the lights and let the magic unfold. The smartphone’s light, sound and vibration features are used to enhance the narrated story; the light shines through the laser-cut stencils, projecting shapes onto the ceiling and walls. The stories are based on traditional African folk tales: “Why Hippo Doesn’t Eat Fish”, “Why Mosquito Buzzes in People’s Ears” and “Why Thunder and Lightning Live in the Sky”. These are all stories with strong moral messages and themes such as collaboration, humility, temper management and dispute resolution. |
| Medientyp | Verpackungsdesign |
| Länge | |
| Chief Creative Officer | Peter Case |
| Executive Creative Director | Mariana O’Kelly |
| Executive Creative Director | Matthew Barnes |
| Creative Director | Candice Hellens |
| Creative Director | Robyn Bergmann |
| Creative Director | Gregory King |
| Creative Director | Anneke Jacobs |
| Texter | Candice Hellens |
| Designer | Robyn Bergmann |
| Designer | Marike Hechter |
| Designer | Gregory King |
| Designer | Anneke Jacobs |
| Illustrator | Anneke Jacobs |
| Art Director | Moira-Gene Sephton Gous |
| Etatdirektor | Lungi Ngobese |
| Kundenbetreuung | Karen Carr |
| Agency Producer | Juliet Curtis |
| Agency Producer | Alison Ross |
| Agency Producer | Tercia Makhubela |
| Kundenbetreuer | Daniella Block |
| Backend Developer | Chris Marais |
| Backend Developer | Melikhaya Phangwa |
| Frontend Developer | Nicole Jaftha |
| Quality Assurance Manager | Mark Adams |
| Head of Development | Graham Talbot |
| Projektmanager | Stephanie Powell |
| Digitales Design | Marina LeRoux |
| Art Buyer | Emma Hurley |
| Art Buyer | Jane Paoli |
| Produktionsmanager | Colleen Idle |
| Produktionsmanager | Johan Dipenaar |
| Regisseur | Ross Garrett |
| Produzent | Lyndsay-Jane Barnard |
| Produktionsfirma | Darling Films |
| Cutter | Evy Katz |
| Cutter | Angela Whitehouse |
| Post-Produktion | Blade |
| Grad | Pudding Colour Services |
| Sound Engineer | Louis Enslin |
| Sound Engineer | Theo Potgieter |
| Produktionsfirma | Produce Sound |
| Illustrator | Jean de Wet |
| Bild und Kamera | Michael Knight |
| Laser Impressions | Gaetano Murolo |
| Chief Marketing Officer (CMO) | Mike Middleton |
| Marketing Director | Thabisa Mkhwanazi |
| Marketing Manager | Hloni Mohope |
| Brand Manager | Lynette Ngwata |
| Digital Marketing Manager | Benjamin Schoderer |
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