Shark turned up with a lookalike. Dyson needed people to see Airwrap as the smarter machine, not just the original.

That's hard to say in a few seconds. The Coanda effect and rotating barrels don't explain themselves, and the TV assets didn't travel. Meanwhile, hair content is everywhere: millions of videos, all the same shot.

Beauty works when people see themselves in it. But we couldn't represent every hair type, and showing only a few would shut everyone else out.

So I took the hair out.

Crepe paper does what hair does: it wraps, flows and lifts. Suddenly the airflow is something you can see. It's an everyday material, and using it was the point. No stylist, no make-up artist, no model. Just a crew of four (two filmmakers, a producer and me as art director) proving Airwrap could win with a roll of crepe paper.