To build a relevant brand for a truly complex audience: young people aged between 16 and 30 years old. In a market full of options, we had to put on the map a brand that, although somewhat known, had never communicated anything since its launch in 1993.

When we examined the history of the brand and the company, we saw a great opportunity: although the product was star-shaped, the snack was originally supposed to be shaped like a frog. That's why they were called 'Jumpers'. At first we thought it was a joke, but later, we realised it was a master stroke.

Along with its nineties identity, this "mistake" provided a starting point for defining what they were: an authentic, unpretentious, modest, clever and honest brand with very local roots (specifically, in Ejea de los Caballeros, a small town near Zaragoza). One which is going all out for success against heavyweight opponents, much like David vs. Goliath.

We connected what the brand was with what was relevant to people. We identified a social tension –posing– that we were able to resolve based on the authenticity that we wanted to advocate: posing. Young people were starting to tire of idealised images full of filters, and influencers boasting of a luxurious lifestyle in their feeds.

That's how we defined our "ANTIPOSTUREO" perspective, which we've reinforced in subsequent campaigns, building a relationship with an elusive, content-saturated audience, doing things Jumpers-style, or, in other words, with limited resources and a lot of creativity.

In a series of strategically thought-out campaigns, we looked to reach out to and engage with an audience that is saturated with content while simultaneously building our perspective. We launched this perspective with "Antiestrellas", a campaign that brought Twitter to a standstill, in which we embraced our mistake and confessed that our snacks were always supposed to be frogs.

We've constantly sought to capture the attention of younger audiences ever since, with initiatives like the "Antiinfluencer" campaign, in which we looked for Spain's worst influencer.
"Jumper de Jumpers", where we react in real time to a mistaken accusation of being posers, and turn the ugliest sweatshirt into the most sought-after one.

"Lo del Final de Jumpers", which we built on a universal insight, namely that "the best comes last", introducing a new product while also poking fun at the impatience that is so common on social media.

And our "Anuncios A Pachas" campaign, in which, against a backdrop of crises and limited funds, we hacked the advertising landscape by finding other brands to share our campaigns with.

"Distopía", the 30th-anniversary campaign, in which we created a parallel reality to advocate for being true to oneself in the face of the impossible standards demanded by premium brands.

"Becas Jumpers", a series of grants which runs counter to the culture of success that social media tries to impose on us, rewarding those who "make an effort but don't make it".

And finally, "Storytime", in which we parodied entrepreneurs' storytimes to launch our Jumpers-flavoured crisps. A seven-episode series called "Creating a Jumpers campaign for €1".
Ultimately, nothing that Jumpers does is free or "random": it's not just about grabbing attention, but also about developing a robust brand. A brand with a unique point of view, which is reflected and reinforced in each campaign and connects with the target audience based on genuine authenticity.