Dublin is Ireland’s largest city and saw 4.1 million overseas visitors pour into it last year. The Irish may be known for not asking for much, but Dublin’s Tourism Board apparently would like more folks to pile in and add to the €1.7 billion ($1.9 billion) it brought in last year from visitors.
The city is launching a new ad campaign with the tagline “A Breath of Fresh Air.” The effort cheekily positions the city as being not one to brag, pushing the idea of it being the “world’s second-friendliest city” behind “a little too friendly” Sydney.
Sydney is a little too friendly. Come to Dublin, the World’s Second Friendliest City! Dublin: A Breath of Fresh Air. pic.twitter.com/Syoxk11OfO
— Visit Dublin (@VisitDublin) October 21, 2015
One video ad puts Dublin on Ireland’s “second most impressive river,” the Liffey.
In another, the tourism board points out, “You’ll see why we were runner-up for Europe’s Leading City Break Award 2015.” What other city would push its own runner-up status? Clearly, Dubliners aren’t aiming to get too big for their britches.
Dublin is spending €1 million ($1.1 million) on the campaign that will start its run in the UK, France and Germany. It aims to help the city stop “underperforming against its potential,” according to Ireland’s The Journal.
Tourism has apparently been dropping since 2007 and Dublin wants to transition its image from a party city to a place that offers a variety of experiences, particularly since it is located near mountains and the sea.
The campaign and the city’s new logo were created by Ireland’s Annie Atkins, who formerly worked as an art director for ad firm McCann Erickson’s Reykjavik, Iceland, office. Atkins created all of the typefaces and props that bear them (money, store signs, passports, newspapers, police reports, and so on) for The Grand Budapest Hotel, which is set in the fictional Eastern European country of Zubrowka back in the 1930s.
“When I started work on the design one of my priorities was to not do anything that felt too corporate or branded—it was important that the logo felt like a holiday, not a product,” Atkins writes on her blog. “I also wanted to draw it by hand—like it wouldn’t be out of place painted up on the side of a building somewhere in the city.”