Ideas > celebrities; What FMCG brands can learn from this year’s World Cup
Star power is in full force at this year's FIFA World Cup. But, argues Robert Volten, Managing Partner at Chuck Studios, that power is often overwhelming what should be the central performer; the idea.
The 2026 World Cup is billed as the biggest sporting moment in history. Predicted to engage more than six billion people and attract $10.5 billion in global ad spend, ITV has aptly called it a ‘six-week Super Bowl for advertising brands’.
Advertisers are doing their best to take advantage. From Lays’ World Cup ad featuring Will Ferrell to McDonald’s latest release, brand after brand has bet big on an ensemble of famous faces including (do I even need to say) David Beckham, to reach audiences and try to stand out. But, along the way, they’ve ended up sidelining the real player of the month, their whole reason for existing in the first place: their product.
Advertising moments of this magnitude don’t come around very often.
Advertising moments of this magnitude don’t come around very often. So, when they do, brands need to ensure their ads aren’t just using stardom to grab attention in the moment, but are spotlighting their products and building genuine memorability.
Credits
View on- Agency VCCP/London
- Production Company Girl&Bear (In-House at VCCP/London)
- Director Andrew Lane
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Credits
View on- Agency VCCP/London
- Production Company Girl&Bear (In-House at VCCP/London)
- Director Andrew Lane
- Production Co. Washington Square Films
- Edit Company tenthree
- Post Company Absolute Post
- Post Company Girl&Bear (In-House at VCCP/London)
- Sound Design Grand Central
- Music Licensing Theodore Music
- Executive Creative Director Mark Orbine
- Senior Creative Matt Allen
- Senior Creative Luke Ashton
- Producer Helen Brownlie
- Associate Creative Producer Rebecca Hunnybun
- Executive Producer Olly Calverley
- Senior Designer Rob Churcher
- Designer Carl Sherry
- Design Director Gilles Bestley
- Executive Producer Han West
- Producer Selena Cunningham
- Casting Director Anna McAuley
- Production Designer Zoe Klinck
- DP Hamish Anderson
- Editor Quin Williams
- Post Producer Madeleine Godsill
- Colorist Matt Turner
- Sound Designer Munzie Thind
- Music Licensing David Bass / (Music Supervisor)
- Talent Thierry Henry
- Talent David Beckham
Explore full credits, grab hi-res stills and more on shots Vault
Credits
powered by- Agency VCCP/London
- Production Company Girl&Bear (In-House at VCCP/London)
- Director Andrew Lane
- Production Co. Washington Square Films
- Edit Company tenthree
- Post Company Absolute Post
- Post Company Girl&Bear (In-House at VCCP/London)
- Sound Design Grand Central
- Music Licensing Theodore Music
- Executive Creative Director Mark Orbine
- Senior Creative Matt Allen
- Senior Creative Luke Ashton
- Producer Helen Brownlie
- Associate Creative Producer Rebecca Hunnybun
- Executive Producer Olly Calverley
- Senior Designer Rob Churcher
- Designer Carl Sherry
- Design Director Gilles Bestley
- Executive Producer Han West
- Producer Selena Cunningham
- Casting Director Anna McAuley
- Production Designer Zoe Klinck
- DP Hamish Anderson
- Editor Quin Williams
- Post Producer Madeleine Godsill
- Colorist Matt Turner
- Sound Designer Munzie Thind
- Music Licensing David Bass / (Music Supervisor)
- Talent Thierry Henry
- Talent David Beckham
Above: The Walkers/Lays campaign is chock-full of stars, but says Volten, that distracts from the memorability of the brand.
Messaging first, tactics second
To be clear, there’s nothing inherently wrong with using famous faces in advertising. Some of the greatest ads of all time have used star power to their advantage – think Betty White in Snickers’ You’re Not You When You’re Hungry or Micheal Jackson for Pepsi. Celebrities can create a powerful halo effect, lending credibility and cultural relevance. The issue with the vast majority of World Cup ads we're seeing at the moment is that they’re not using celebrities to amplify a brand or product message, they’re using them as the message.
Rather than developing a narrative, many have simply assembled a roster of stars.
Rather than developing a narrative, many have simply assembled a roster of stars, built productions around them and then called it a day. Almost as if a big name could somehow become a substitute for the creative idea. The result? A sea of sameness. Ads feel interchangeable and generic, leaving you only likely to remember the soundtrack or star, not the product or brand behind it. Lay’s Most Epic Watch Party [above], for example, features a cast of stars including Alex Putellas, Leo Messi, Thierry Henry, Steve Carell and (surprise, surprise) David Beckham, which distract from the memorability and mental availability the brand is trying to create.
Unlike fleeting star cameos, mental availability comes from consistency. It accumulates through the use of distinctive brand cues that are repeated over time, ultimately influencing when and if a consumer thinks of your brand when making a purchase decision.
Credits
View on- Agency GUT/Miami
- Production Company Landia/USA
- Director Matias Moltrasio
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Credits
View on- Agency GUT/Miami
- Production Company Landia/USA
- Director Matias Moltrasio
- Director Andy Fogwill
- Executive Producer Juan Taylor
- Executive Producer Florencia Gastelu
- Producer Ivan Grichener
- VFX Supervisor Gabi Albertoni
- Production Services Bootleg Films
- Executive Producer Greg Jordan
- Chief Creative Officer Juan Javier Pena Plaza
- Chief Creative Officer Lucas Bongioanni
- Chief Creative Officer Joaquin Campins
- Head of Production (HP) Renata Neumann
- Senior Producer Stephanie Schmalbach
- Creative Director Jose Ramirez
- Creative Director Rafael De Miranda
- Creative Director Julia Mota
- Creative Director Lucas Adam
- Associate Creative Director Joao Corazza
- Associate Creative Director Bruno Reis
- Copywriter Julia Sanbe
- Art Director Gianna Centurion
- Production Designer Fer Guerrero
- Producer Lara Baldwin
- DP Mariano Monti
- Talent David Beckham
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Credits
powered by- Agency GUT/Miami
- Production Company Landia/USA
- Director Matias Moltrasio
- Director Andy Fogwill
- Executive Producer Juan Taylor
- Executive Producer Florencia Gastelu
- Producer Ivan Grichener
- VFX Supervisor Gabi Albertoni
- Production Services Bootleg Films
- Executive Producer Greg Jordan
- Chief Creative Officer Juan Javier Pena Plaza
- Chief Creative Officer Lucas Bongioanni
- Chief Creative Officer Joaquin Campins
- Head of Production (HP) Renata Neumann
- Senior Producer Stephanie Schmalbach
- Creative Director Jose Ramirez
- Creative Director Rafael De Miranda
- Creative Director Julia Mota
- Creative Director Lucas Adam
- Associate Creative Director Joao Corazza
- Associate Creative Director Bruno Reis
- Copywriter Julia Sanbe
- Art Director Gianna Centurion
- Production Designer Fer Guerrero
- Producer Lara Baldwin
- DP Mariano Monti
- Talent David Beckham
Above: David Beckham's prevalence across so many campaigns and for so many brands arguably undermines the brand's distinctiveness.
Moments like the World Cup are a rare opportunity to deposit into this so-called memory bank at scale. Brands prioritising celebrities over product and narrative, however, end up spending fortunes without actually making that deposit, highlighting the true cost of this short-term thinking and diluting their brand presence.
Avoiding this trap is refreshingly simple: Start with the creative idea. Think about what you’re trying to communicate and why. Then, and only then, can you decide what tactics you’re going to employ to bring the ad to life, be it a jingle or a brand ambassador. What should never be relegated to an afterthought, is your product and what makes it distinctive.
Don’t downplay your distinctive brand assets
From the lime wedge that immediately makes you think Corona to the cheese dust fingertips that are unmistakably Cheetos, Distinctive Brand Assets (DBAs) are what make a brand instantly recognisable regardless of the context. They’re at the heart of what we call the Culinary Identity – the strategy that governs how a brand depicts its food or drink, and ensures that the product is always consistent, distinct and meaningful.
The faux pas many brands are guilty of is using a famous face as a one off.
Yes, celebrities do count, but (and it’s a big but) they have to be intrinsically linked to your brand, and that can only happen if they feature consistently over time. George Clooney for example, has had a 20 year long partnership with Nespresso which has seen him evolve from a brand ambassador into a bonafide DBA.
The faux pas many brands are guilty of is using a famous face as a one off, which becomes worse still when said face has availed itself to competitors. Take Stella Artois‘ Celebration, featuring David Beckham [above]. The ad offers a product-centred concept and a strong narrative – that even a drop of Stella is too good to spill – but David Beckham’s presence arguably undermines the brand's distinctiveness.
Credits
View on- Agency Ogilvy/New York
- Production Company Biscuit Filmworks/USA
- Director Isaiah Seret
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Unlock full credits and more with a shots membership
Credits
View on- Agency Ogilvy/New York
- Production Company Biscuit Filmworks/USA
- Director Isaiah Seret
- Executive Producer Andrew Travelstead
- Head of Production Sean Moody
- Editing Cabin Edit/Los Angeles
- Editor Matt Schaff
- Senior Producer Andrea Cantor
- VFX Electric Theatre Collective/USA
- Creative Director Kyle Cody
- VFX Supervisor Thiago Dantas
- VFX Supervisor Renato Carone
- Executive Producer Chris Connolly
- Senior Producer Dara O’ Cairbre
- Post Producer Ramya Shankar
- Color Royal Muster
- Senior Colorist Mikey Pehanich
- Sound Design Concret Form
- Sound Designer/Audio Mixer Raphael Ajuelos
- Music Soundtree Music
- Production Services Avion Films/Athens
- Global Chief Creative Officer Liz Taylor
- Deputy Chief Creative Officer Joe Sciarrotta
- Chief Creative Officer Guillermo Vega
- Chief Creative Officer Rafael Donato
- Global Group Creative Director/Copywriter Nick Stoner
- Global Group Creative Director/Art Director Nick Howard
- Creative Director/Art Director Alexandre Smissen
- Creative Director/Copywriter Luca Trincanato
- Senior Art Director Paulo Salles
- Senior Copywriter Joao Paulo Cairo
- Art Director Rodrigo Cerri
- Senior Executive Producer Jeff McDougall
- Production Designer
- DP Guillermo Garza
- Assistant Editor Dani Roth
- Executive Post Producer Marianna Terenzio
- Sound Editor Kai Scheer
- Composer James William Blades
- Music Producer Kurt Steinke
- Sound Designer Henning Knoepfel
- Sound Designer Jack Patterson
- Producer Pantelis Kakaroglou
Explore full credits, grab hi-res stills and more on shots Vault
Credits
powered by- Agency Ogilvy/New York
- Production Company Biscuit Filmworks/USA
- Director Isaiah Seret
- Executive Producer Andrew Travelstead
- Head of Production Sean Moody
- Editing Cabin Edit/Los Angeles
- Editor Matt Schaff
- Senior Producer Andrea Cantor
- VFX Electric Theatre Collective/USA
- Creative Director Kyle Cody
- VFX Supervisor Thiago Dantas
- VFX Supervisor Renato Carone
- Executive Producer Chris Connolly
- Senior Producer Dara O’ Cairbre
- Post Producer Ramya Shankar
- Color Royal Muster
- Senior Colorist Mikey Pehanich
- Sound Design Concret Form
- Sound Designer/Audio Mixer Raphael Ajuelos
- Music Soundtree Music
- Production Services Avion Films/Athens
- Global Chief Creative Officer Liz Taylor
- Deputy Chief Creative Officer Joe Sciarrotta
- Chief Creative Officer Guillermo Vega
- Chief Creative Officer Rafael Donato
- Global Group Creative Director/Copywriter Nick Stoner
- Global Group Creative Director/Art Director Nick Howard
- Creative Director/Art Director Alexandre Smissen
- Creative Director/Copywriter Luca Trincanato
- Senior Art Director Paulo Salles
- Senior Copywriter Joao Paulo Cairo
- Art Director Rodrigo Cerri
- Senior Executive Producer Jeff McDougall
- Production Designer
- DP Guillermo Garza
- Assistant Editor Dani Roth
- Executive Post Producer Marianna Terenzio
- Sound Editor Kai Scheer
- Composer James William Blades
- Music Producer Kurt Steinke
- Sound Designer Henning Knoepfel
- Sound Designer Jack Patterson
- Producer Pantelis Kakaroglou
Above: In Coca-Cola's campaign, it's the product that's the star.
There’s no denying Beckham’s cultural relevance or the clout that he brings to brands. The trouble is that because he’s worked with so many over the years, and even just this World Cup (Home Depot, Adidas, Pepsi, Lays… the list goes on) it’s become nigh on impossible to remember the product he was advertising in the first place.
That’s why it’s always best to hero the product – ultimately it’s what your brand exists to sell. Coca-Cola’s Uncanned Emotions brand film [above] demonstrates this perfectly. It puts the attention firmly on the product codes that make Coke what it is; the condensation on the can, the twist of the cap, the unmistakable colour of the liquid. Even the narrative centres around the product, showing Coke present in the hands of every fan at every moment of the tournament.
It’s always best to hero the product – ultimately it’s what your brand exists to sell.
Here, the product isn’t just a prop, it’s the protagonist. While the ad does feature commentary from legendary football broadcasters Peter Drury and Luis Omar Tapia, it isn’t reliant on them. On the contrary, the product does the heavy lifting.
Keep viewers on side
As audiences have settled in for weeks of viewing spectacle, brands are already starting to look ahead to the next big event. But before they do, I implore them to go back to the basics. Right now, many are pouring fortunes into star power, but are unlikely to see any returns. Celebrities may offer attention and credibility in the moment, but if brands really want to create something that lasts in the mind of viewers long after the winning team does its victory lap, they have to start and end with the product.
After all, those products are their whole reason for being and, unlike Beckham, they have no chance of appearing in a competitor’s campaign next week.