BMF grounds its work in "great truths brought to life in memorable, engaging ways".
It started from Warren Brown’s founding of the agency in 1996, and has now branched across all creative work, including the last decade.
BMF executive creative director David Fraser told AdNews that every creative who’s touched BMF work over the year has tried to maintain the bold, category-breaking standard Brown set early on.
“There’s no house style as such. But a common thread I notice is great truths brought to life in memorable, engaging ways. Sometimes chilling," said Fraser.
"Sometimes daft. But always standing out from the oceans of ordinariness and making people feel something.
“It’s also safe to say craft has been part of the BMF DNA since day one. Sweating the details of tone and visual treatments, because that’s the stuff that elevates brands and creates genuine distinctiveness.
“Altogether, we just try to build effective long ideas that deliver great work for years.”
Dan Murphy’s Eye for Value campaign aimed to re-establish itself as the most cost-efficient company in the liquor industry.
BMF executive creative director Tom Hoskins said that with years of cost-of-living headlines and inflation speculation, household spending had become more deliberate.
"With everyone screaming price, Dan’s had faced increasing pressure on its price leadership position,” Hoskins said.
“This problem became even more compounded when one of the main convenience players in the liquor industry collapsed multiple brands into one, price-focused behemoth.”
Dan Murphy, the founder and face of the Dan Murphy’s brand since its business began in 1952, built a fierce reputation for value, living by the mantra of helping Australians drink better for less.
Hoskins said that the iconic Dan Murphy logo was the answer to re-establishing value and low prices without adding unnecessary noise in the market.
"Australians have had a kind of relationship with ‘Uncle Dan’ for some years, it was time to activate it,” he said.
“The TVCs were created by a brilliant production team that had cared hard for the brand previously. With that kind of trust and familiarity, things move pretty fast.
“So we turned to Dan Murphy’s (the DBA), now one of the most recognisable brand marks in Australian retail, as our vehicle to help remind people that when it comes to everyday low prices, Dan’s means business.
“Tone of voice was a critical unlock. There’s a lot you can read into when you look at Dan’s stare.
“This campaign doesn’t drill for meaning in category tropes. The OOH works exceptionally hard for something with minimal elements.
"It doesn’t say the words, ‘Dan Murphy’s’ anywhere. It’s just the eyes… and a laser like focus on tone and everyday low prices.”
BMF track success through campaign tracking and brand salience.
“Ongoing brand tracking monitors the impact on perceptions and whether the campaign is successfully building Dan’s brand image in the right direction compared to competitors, and whether there’s positive response in terms of brand preference and purchase intent," he said.
“Year on year sales performance and market share, and shopper metrics such as frequency, help decode the commercial impact.
“Commercial Mix Modelling then isolates the role of marketing from other influences, informing future bursts and optimisation opportunities.”
BMF have worked with ALDI for two decades, producing award-winning work including Effie-winner ‘Shop Aldi-First.’
ALDI’s 2026 campaign, ALDI Prices, aimed to reinforce ALDI’s price leadership in Australia. The film was shot overnight in the ALDI Balgowlah store in Sydney.
The campaign follows a shopper comparing ALDI prices using a price comparison app, when a male figure whispers that you don’t have to check the prices, they are ‘ALDI’ prices.
The humorous approach is integral in an ALDI campaign’s tone of voice, BMF creative director Emily Field said.
“Humour has always been a powerful tool in advertising. When something makes us smile, we’re more likely to remember it. And it invites people in, rather than talking at them,” Field said.
“Whether it’s acknowledging you see other supermarkets in ‘Shop ALDI first’ or the way we all undo our pants to make room for second helpings in ‘Go on, it’s Christmas’, it’s the relatability of the truth taken to an unexpected place that seems to resonate.”
Production was completed by Revolver, directed by Andreas Nilsson and cast by Peta Einberg.
“As with every project, we let the idea and characters guide the actors we landed on,” said BMF creative director Simon Koay.
Field said that both BMF and ALDI Australia believe in long ideas and partnerships.
"In being gutsy enough to do things differently, and humble enough to know we can always do better," she said.
"Always with a laugh. It’s this combination that drives effectiveness – something both BMF and ALDI value very much. And it's why, behind ALDI's famous efficiency, there's always been room for real creativity and craft.”
BMF’s success with Tourism Tasmania’s 2019 and ongoing brand campaign Come Down for Air, put them in a position to advertise Tasmania in its off-peak season: Winter.
‘The Off Season’ for Tourism Tasmania was able to engage tourists to the unconventional travel period: The cold and dark side of Tasmania during winter.
BMF creative directors Rees Steel and Casey Schweikert said they wanted to show off the new experiences, events and operators on the island.
“We were spoiled for choice, but got excited by sapphire fossicking, a salt sommelier experience, caving, penguins, jazz, and a bit of nudity,” they said.
“As a long standing campaign with such a strong identity, the new imagery only adds to the amazing suite we've shot to date.”
The iconic black and white photography of the campaign emulated the ‘dark’ winter experience.
BMF worked with photographers Stephen DuPont, Jo Duck, Jesse Hunniford and Remi Chauvin.
"Since winter is quite literally darker - there's less daylight! - embracing black and white is a really elegant way to welcome that, and set the campaign apart,” Steel and Schweikert said.
“It speaks to the restless energy of the colder months, but also the abundant creativity that Tasmania's known for.
“Keeping the black and white allows us to be more playful with style and content, so we’ve shot everything from doco-style, mannered portraits and from-the-hip snaps. As a creative starting point, it’s really fun and fertile.”
Tourism Tasmania’s long-standing ‘Come Down for Air’ brand platform rebranded the Tasmania ‘air’ as a freshness of perspective, honesty, energy and humour, all part of Tasmanian’s personality traits.
“The fact that work like the Off Season or TasmanAi feels as authentically ‘Tasmanian’ as a summer campaign is a testament to the strength of that brand,” they said.
Off Season 2025 recorded 339,800 visitors between May and August and an 8.1 per cent increase in visitor spend.
“For me, the best feedback is hearing operators tell us that they can keep staff on in winter now, where they used to shut down for the season," they said.
“The entire agency was lucky enough to head down a couple of winters ago to celebrate BMF's birthday.
“There are some revealing photos somewhere of a hundred of us plunging into the surf and squealing like complete idiots. I think the water was about four degrees, but of course the locals walked in without blinking.”
Moving into 2026, BMF won Dementia Australia creative pitch.
Enero reported BMF's revenue growth of 19% to $20.5 million and benefited from a number of new client wins in 2025.
BMF recently appointed The Monkey’s co-founder Scott Nowell to creative chair.
Fraser said that BMF’s 2026 will prioritise showing up for clients in new ways, while getting their teeth into new categories.
"And picking Scott Nowell’s lovely brain. His fresh POV, creative wisdom, and penchant for peanut butter crumpets is already making a difference,” Fraser said.
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