of chocolate fondant is wheeled in and various details such as liquorice windscreen wipers and a front grille made of chocolate Flakes are added to the car. The bonnet is lowered and icing sugar is dusted onto the roof before a fondant Škoda logo is attached to the front. The closing shot is of the team lined up around their creation, which now appears to be a cake replica of a Škoda Fabia, with the tagline "The new Fabia. Full of lovely stuff." across the bottom. vRS version Production Background Advertising agency Fallon began representing Škoda in 1999, and its first campaign was for the first generation of the Fabia supermini, the successor to the Felicia, in early 2000. While the previous advertising agency, Grey London, had succeeded in improving the company's image, Škoda cars were still the butt of many a joke, and were seen as "naff" by British consumers. Fallon took a lighter, self-denigrating approach - the strapline of the first series of ads (Vandal, Factory Tour) played off the disbelief of the public that a Škoda car could be of high quality, using the strapline "It's a Skoda, honest." The campaign was a tremendous success, dramatically reversing public opinion of the brand. Sales of Škoda vehicles increased by record amounts during the period in which the campaign aired. Upon the launch of the second generation of the Fabia, Fallon chose to shift the focus away from improving the Škoda brand as a whole and towards pushing individual aspects of the cars. The strapline for the Fabia, with its numerous "smaller, helpful features", such as hooks for carrier bags in the boot to keep shopping upright, was to be "full of lovely stuff". The idea for a commercial based around building a car out of cake came from a conversation between creative directors John Allison and Chris Bovill whilst sharing cake on Valentine's Day. Approval was given for a campaign on a cake theme targeting couples aged 35-plus, with a budget estimated at around £500,000. Filming Once approval was given to the project, director Chris Palmer was brought on board. Palmer's previous work included award-winning spots for Transport for London and the acclaimed Old Lions for Carlsberg in 2006. Palmer's plan was to shoot the production of an actual life-sized Fabia cake with little or no computer-generated imagery. With the air-date for the finished piece set only four