We’ll mend it.
Every Ninefold coat now comes with free repairs for life. We made the repair service the campaign, and the reason to come back to the shop.
Was 22%Now 31%
Revenue from returning customers. Because a repair visit is a shop visit.
Written & directed by the same people.
Okafor & Quist is an independent creative agency in London and Copenhagen. The people who write your idea also make it, buy the media and answer for the numbers.
See the workFive jobs, and the number each one moved.
Every job here was briefed with a number to move. The orange flashes say what it was before we started, and what it is now.
Slower, please.
An aperitivo made for the hour between work and dinner. We sold the slowness: ads that only ran after six, and a pour that takes ninety seconds to do properly.
Was 11Now 140
UK shops stocking it, by month twelve. Because buyers had a reason to list it in October, not just June.
Turn it down.
A speaker for flats with thin walls, launched at a whisper: small type, quiet films, ads after ten at night.
Sold out in 9 weeks
Front row for a tenner.
The best seats in the house, held back for under-30s at £10 a night, and announced only where under-30s actually look. Average audience age went from 57 to 49.
Colour is a decision.
Forty colours instead of two thousand, each named for the argument it settles. This one is Final Answer Green.
1 in 3 samples became a tin
Every one of them was planned, made and bought by the same people.
All thework
In film credits, “&” and “and” mean different things.
An ampersand means the writers worked together, as a team. “And” means they worked separately, one after the other, often without ever meeting.
Most brands buy the idea from one company and the media from another. We were built as the ampersand.
The idea and the media plan are one decision.
Where something runs changes what it should be. So the people deciding both sit at the same table from the first day.
Creative is judged by what it moves.
Every piece of work leaves the building with a number attached. We would rather show you a sales curve than a showreel. Ideally both.
Fame is a performance channel.
The thing people talk about is usually the thing they buy. We make ideas big enough to be talked about, and measure them tightly enough to be trusted.
What’s on the stall.
All of it is made by one crew, and nobody hands anything over: the strategist sits next to the media buyer, who sits next to the director.
Strategy
One problem in one sentence, agreed by the people with the budget.
Brand&Creative
Names, marks, words and pictures to live in for ten years.
Campaigns
One idea, written for every place it will run.
Paid media
At cost, on your accounts.
Social
The daily version of the idea.
Content
Forty versions when the plan needs forty.
Web & Digital
Sites, booking flows, shops and email, built to convert.
Growth
What works gets more money.
Fixed fees by the job. Media bought at cost, on your own accounts, so you can see every pound.
What each one involves
Halden Hotels: Leave when the light does.
The brief.
Halden was full from June to August and half empty the rest of the year. Four in ten winter bookings came through booking sites that kept up to 18% of the room rate.
Fill the dark months. Get guests to book with Halden directly.
The idea.
From October to March, checkout is at sunset.
In Bergen that means 15:19 in December and 20:13 by the end of March. The late checkout only comes with rooms booked on halden.no.
The making.
Four pieces of one idea, every one of them timed to the sun.
Posters and digital screens went up like tide tables, with tonight’s checkout time at each hotel, repainted every day in Oslo, Stockholm, Copenhagen and Hamburg.
The ads ran at sunset too. Paid social and search were scheduled by solar time in each city, so they went live as the light went, when people start planning a weekend away.
We filmed one room for one afternoon: a fixed camera in room 412 from 11:00 to sunset, the light crossing the wall, cut to sixty, fifteen and six seconds. And halden.no now opens on tonight’s checkout time, counting down to it.
What it moved.
The first winter, October 2025 to March 2026, against the winter before.
Was 41%Now 58%
Winter room nights booked direct. Because the late checkout only came with direct bookings.
Was 52%Now 63%
Winter occupancy. Because a 15:19 checkout turns one night into two days.
Was £41Now £30
Cost per direct booking. Because the ads ran when people were deciding, not all day.
Checkout
How a job runs.
We start at the shelf, not with the brief: the sales data, the customer calls, what comes up when somebody searches for you. Then we write the problem down in one sentence, and the people who sign the budget agree to it before anything is drawn. Writers, designers, directors and the media planner make it in one room, so where it runs gets decided in the same conversation as what it says. It goes out in weeks, with a number to move and the tests already built in. Whatever moves the number gets more money; whatever doesn’t is cut quickly, and we go back to the shelf.
Who we’ve made things for.
Halden Hotels Sorso Ninefold Oda Audio The Albion Rep Hatch Paint Co. Norrland Rail Muir & Sons Fjell Outdoor Kettle & Pine The Holm Museum Pollen Brask Cycles Østra Ferries Vester Books Lumen Opticians
Clients since 2014. References on request: ask any of them.
Forty-one people who never decided whether they were creatives or analysts.
We stopped asking. Writers here read media plans. Buyers sit in on edits. Everyone is in the room when the work is judged.
Adaeze Okafor and Tomas Quist started the studio in 2014. There are two studios now, in London and Copenhagen, and since 2022 the business has belonged to the people who work in it. We don’t pitch for free: new clients start with a paid two-week sprint and keep everything it makes.
1.
FADE IN:
INT. MEETING ROOM, SOHO — NIGHT (2014)
A storyboard on the table. Two coffees, both cold.
ADAEZE OKAFOR (38) wrote the campaign. TOMAS QUIST (41) bought the media for it. They have been arguing for an hour.
TOMAS
It tested badly.
ADAEZE
You tested it on the wrong people.
A long pause. Tomas turns the storyboard round and looks at it properly for the first time.
TOMAS
Who would you have asked?
CUT TO:
INT. AN EMPTY OFFICE, CLERKENWELL — SIX MONTHS LATER
A signwriter paints an ampersand on the door.