The advertising campaign of the Exhibition of the Pillar of Zaragoza 2015 was an impact: five matadors, El Juli, Morante, Talavante, Urdiales and López, Simón, stripped of the suit of lights and turned their bodies in media to publicize, with allusions pictorial, values of tauromachy -respect, purity, truth, freedom, while adopting striking postures, expressions and gestures of the torería, as the wink of the bullfighter of The Puebla to Salvador Dalí, or the image of Talavante transformed into a character of El Greco.

“All that was an absolute madness, from the production to the impact,” says its author, José Ramón Lozano (Avila, 1980), photographer, designer, artist, innovator, director of Teseo Communication, working with Simon Houses in the promotion of the festivals that are celebrated in Madrid and in other spaces that manages the French entrepreneur.

“I Say that it was a craze because the pictures are made to each bullfighter in his home town and toured Spain with my car, loaded up cameras and lights,” continues Lozano. “And because the campaign had extraordinary results; on the one hand, a fair that was down was placed on the map and the sale of fertilisers and inputs increased between twenty and thirty percent; and on the other, the refusal of the mayor of Barcelona to that we put a large billboard with the picture of Morante gave us a wave of communication is unexpected.”

But the campaign is a transgressor of the marketing of bullfighting was not the baptism of Lozano in the world of the bulls. He was born in the bosom of a family of taurine in the very teresian city of Avila. And became a matador. He made his debut with picks in 1998 with López Chaves, and Antonio Barrera and for five years curtió in the difficult Valley of the Tiétar before steers very strong.

“The fiesta of the bulls is something more than the fighting of an animal; it is a cultural value,”

“I did a novillero and powerful, a good professional,” recalls Lozano.

Two broken bones in the hands slowed down a race that, in his opinion, was directed at success, but was unable to make her debut in Madrid or in Seville, and the illusions were withering.

“I possessed a concept that is very pure,” he adds; “I looked different to the others, but I missed the opportunity to let me know”.

Lozano wasted no time. While he dreamed of a glory bullfighter ever more distant, he studied teaching and Humanities in Salamanca, and began a doctorate in contemporary art.

When the time came to take a final decision on his life, he found something like a depression, and the need to face up to a radical change. He worked in farming and construction until he decided to enroll in a course on bullfighting journalism, and entered as a fellow in the portal Mundotoro, which provided him with the opportunity to meet Morante de la Puebla, who was the first customer of the media company -Theseus – dedicated to manage the image of the bullfighter, which he founded with that today is his wife.

Signed a contract with the bullfighter and both opted for a different concept to convert each run at an event.

Urdiales and Morante, in the campaign for the Fair Pillar of 2015. Plaza1

Then would come Manzanares. “Morante was very satisfied with the work,” explains Lozano, “but I indicated that he could not submit to an agenda directed to and that it was best that we let it; with Jose Mari was different. If with José Antonio open holes in non-conventional means, in the press and on television, with Manzanares saw an opening with the big brands and international fashion”.

then, The Juli, and, currently, Cayetano and Paco Ureña…

And among the many figures boleros, appeared the entrepreneur of fashion, the French Simon Homes.

“I knew Simon of view,” says Lozano, “but I loved her way of speaking, their training, their sense of the party… Is an innovative, it is another thing.”

“Houses is, for me, a mentor who understood bullfighting as a cultural concept and artistic,” she continues, “with a head structured for marketing without having studied this matter”.

“My goal is to convert the communication in advertising”

And there was agreement between the parties. Account Lozano, which are very well understood and both work to make each fair an event that is surprising and provocative. And so were born the campaign for the Fair Pillar of 2015, and that have continued after to ‘sell’ the area of San Isidro.

– What is intended to communicate?

– “I Think that bullfighting must communicate the values that are proper in a society in which people feel lost. Bullfighting is something more that the lidia of a toro, it is a cultural value that holds many aspects of the greatness of the human being. I do a sociological analysis of every moment and seek the way of getting the right messages that may be of interest to the citizen”.

– And how do you get it?

– “My goal is to convert the communication in advertising, because the costs of production of the business of the torus are very high and the advertising budgets, very low; hence the reason that some campaigns have been provocative”.


Luis Sword, legendary president of Sales: “No bull, no feast” Situation, cataclysmic, doctors who seem to be magicians, and bullfighters heroic Sales must be a Big Door to The Cid (and the bullfighter owed six)

So arose what you Already feel?, the campaign for San Isidro 2017, in which with technique of 3D animation recreates a piece of haute couture that will weave a suit of lights in which interwoven fears and hopes. Or 2018, “The world of bullfighting plays in The Sales”, in which six bullfighters of eight different nationalities appear with their bodies tattooed with symbols of your country. Or 2019, “don’t let the bulls with his ass in the air”- the image is a bullfighter on the back with the satchel rotates to the height of the thighs – that coincides with an election period in Spain, and calls for a vote to San Isidro because the bulls are a source of economy, employment, ecology, culture, freedom…

And, finally, the campaign of last Autumn Fair, in which José Ramón Lozano portrays the toreros posted without any filters or touch-ups, using the early techniques of photography, and turns them into artists of the second half of the NINETEENTH century.

“But I identify more with the campaign of Zaragoza 2015 and with the last job craftsman of the Fall of the plates of ferrotipo,” explains Lozano, “this aspect of artistic and conceptual is that which flows in my head; because I come from the purity of the classical canons of bullfighting”.

– And do you believe that this new concept has taken root in the then seized sector bullfighting?

– “Now, a little more. Before I looked like a crazy, but Madrid has marked a change in the communication, and has forced other places to keep up with this pace not only in advertising, but in the communication policy, with a strong presence in the social networks”.

– it Is clear that you have started you a new way to make sense of the tauromaquia moderna.

– “But I’m not the protagonist. If the bullfighter and the employer does not succeed, my work is of no use. I am only going to enhance what they do. Live to live in the shadow”.

– And do you believe that your creative work has an impact at the box office?

– “I Want to believe that this is so. I do not say that the increase of spectators in Sales in 2019, compared with the previous year is due only to the campaigns, but that will have helped. That is the goal.”

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