A selection of sessions taking place today in the main auditoriums of the Palais des Festivals
11:30 CANNES ISN’T WHERE IDEAS END, IT’S ALSO WHERE THEY START
SONITA AXA/PUBLICIS / LUMIERS
12:30 CREATIVITY IN THE MAKING: SHAPING TOMORROW WITH 2026 JURY PRESIDENTS
CANNES LIONS / DEBUSSY
14.00 NEW FOR 2026: THE CANNES LIONS WRAP-UP LIVE
CANNES LIONS / DEBUSSY
THE WINNER of the Creative Effectiveness Grand Prix for 2026 is the game-changing ‘Three Words’, entered by Publicis Conseil on behalf of AXA France. Regular Cannes Lions attendees will recall that the campaign won the Titanium Grand Prix in 2025.
Notable for its simplicity, ‘Three Words’ saw AXA change its home insurance policy in France to include domestic violence as valid grounds for relocation — alongside fire and flood. Even if their name isn’t on the policy, victims can call a hotline — whereupon they and any children will be placed in a secure hotel. They are then given support to finding long-term housing, as well as access to psychologists and legal advice.
THE HEART-WARMING ‘The Pub That Refused To Die’ campaign, entered by LePub Milan and Publicis Dublin on behalf of Heineken, has secured the Creative Strategy Grand Prix.
The campaign cleverly linked Heineken’s global Back The Bars platform with a very specific Irish problem — the systematic closure of rural pubs.
In Irish society rural pubs are often the heart of local communities — but increased costs have seen a huge swathe shut their doors in the last 20 years.
In one case, in County Limerick, 26 locals came together to buy their stricken pub and keep it alive. Heineken helped them, and then created a playbook for other endan-
gered pubs. It also made a film about the 26 who saved the first pub, which enriched the story with human insight and local resonance. Jury President, Sarah Lemarié, chief strategy officer, Publicis, France said the campaign was built around a “great cultural engagement strategy. It got into Irish people’s hearts and every media outlet talked about it. The documentary was a beautiful piece that convinced people in their brains and hearts.”
Lemarié said the jury wanted to “inspire young talent to get into strategy by awarding a body of work that showed the full scope of strategy — craft, insight, the smart reframing of a problem or a category, and campaigns that punched
MEET THE WINNERS Wednesday’s Awards gala in pictures
FOCUS ON SOUTH KOREA Gen Z drives brands into K-culture
Jury President Bertille Toledano, CEO, BETC and Havas Creative Middle East, said the inclusion of the new phrase in 2.5 million contracts helped AXA stand out from rivals: “There is no real difference in home insurance, no one really thinks about it. But this created differentiation by putting a cultural vision in the centre of business vision. That is radically different.”
Toledano said that she urged her jury to look for work that “made a difference”. In the case of ‘Three Words’, she stressed how the impact of the campaign went well beyond AXA’s business performance: “For some women, home is the most dangerous place on Earth. In France one women is dying every three days. This campaign helped 121 women in the first month.”
‘Three Words’ also won a Gold Lion, as did ‘Pedigree Caramel’, entered by AlmapBBDO, Sao Paolo on behalf of Pedigree.
above their weight.”
Four Gold Lions were awarded to Sweden (2), Italy and the UK/Spain. The Italian entry was another win for Heineken — ‘Tocayos’, entered by LePub Milan.
ALSO INSIDE... Sir John Hegarty, Jim Stengel, and exclusive interviews and conference reports
Creative Strategy
TRADITIONAL running shoes
don’t fit the feet of athletes with Down syndrome. Adidas’ threeyear quest to address that gap has now won a Cannes Lions Grand Prix for Innovation.
Devised by TBWA\Canada, the project involved working with the athletes to understand their needs, then developing six prototypes on the way to the final commercial product. The Supernova Rise 3 Adaptive shoe launched on March 21, World Down Syndrome Day.
“What was impressive was that Adidas didn’t just create a product for athletes with Down syndrome. They created it with them, through long-term collaboration,” said Jury President Kazuhiro Shimura, executive creative director at Dentsu Inc. He noted that how it was brought to market was equally important: it was not positioned as a ‘special’
or niche product.
“It launched globally in the same channels, at the same price and with the same design standards as any other Adidas running shoe,” Shimura said. “And this work did not simply create shoes: it opened up an opportunity to run for people with Down syndrome.
There were 162 entries for the Innovation category this year, with a Gold awarded to Publicis, Amsterdam’s ‘Utrecht Energized’ campaign for Renault.
Shimura outlined the jury’s priorities when choosing the winners.
“We felt we had to look beyond proof of concept,” he said.
“Not just can it work, can it be built, can it be implemented in the real world? But also: has it already begun to create change? What change could it create next? And how far can it move people and society forward?”
A CAMPAIGN for Columbia Sportswear challenging ‘flat-earthers’ to find the edge of the world and snap a photo of it has won this year’s Cannes Lions Brand Experience & Activation Grand Prix.
‘Expedition: Impossible’ was created by McCann, New York, and McCann, New Zealand for the brand, putting its CEO Tim Boyle front
and centre of the cheeky campaign. It saw Boyle promising to give away the entire company to anyone who could prove that the earth is flat with a photo. Nobody managed that, but it won an earned audience of 80 million people. Among the other KPIs cited by the agencies in their submission: “Thousands of flat-earthers annoyed.”
THE WINNER of the Creative Business Transformation Grand Prix for 2026 is ‘The Wedding Rice’, entered by McCann Athens on behalf of Wikifarmer.
At its core, the campaign helped Greek farmers tackle an agricultural crisis by leaning into a popular tradition. Farmers were being forced to throw away large volumes of rice which failed to meet tough EU regulatory standards. At the same time, Greeks were buying huge amounts of rice to scatter over brides and grooms at weddings.
A system was devised whereby the substandard rice could be sold into the wedding market. In the first 10 months, 41 tons of ‘broken rice’ were sold, servicing 11% of Greece’s huge wedding market.
Jury President Gugu Mthembu, chief marketing officer, Telkom, South Africa, said the unanimous view of her jury was that “the creative brilliance of the campaign lay in its simplicity. It used a cultural insight to solve a problem without needing any significant infrastructure investment or changes in go to market processes.”
“It’s about a contemporary theme, it’s a brand with a point of view, and it’s really well-crafted. The copywriting’s perfect,” said Jury President Rafael Pitanguy, deputy global chief creative officer at VML.
“And the CEO’s a good actor! It’s perfect. It would be terrible if you had a guy who couldn’t act, but that guy [Boyle] is super fun. I want him at my dinner party.”
There were 1,561 entries for the category this year, with Golds awarded to work from Peru, Poland, Brazil, Canada, Mexico and collaborations involving teams from US/New Zealand, US/Mexico and Italy/Brazil.
On trends, Pitanguy said that “brands have really embraced what is supposed to be their weakness: they don’t hide it, they talk about it, they make fun of it, and they create a narrative around it.”
He also praised the quality in this year’s entries: “Everything was so well-crafted. Every promotion: impeccable!”
In terms of trends, Mthembu said it was noticeable that entries involving “ecosystems and partnerships rose to the top. There was a recognition that transformation can’t always be achieved within the walls of your own organisation.”
She also advised entrants in this category that they need to be clear about how creativity is leading business transformation. “We couldn’t always identify if creativity was the engine or spark that led the process,” she said. The jury also awarded one Gold Lion to ‘Protect The Peanut’, entered by BBDO Chicago for Mars Snacking/M&M’s.
Phil Camarota
MANY football fans feel that they’re lucky or unlucky, but the followers of Polish team Wisła Kraków can quantify it through their club’s innovative ‘Lucky Fan Index’.
The work was created by VML, Warsaw, as the club fought to regain its place in the country’s top league, it has now won the 2026 Cannes Lions Grand Prix for Creative Commerce.
The index cross-references every fan’s attendance at Wisla Kraków’s matches with the team’s results — but also individual moments and metrics that are positive or negative for the team, including goals, red cards, possession stats, among others.
It then gives each fan a score out of 100. The luckiest fans can earn VIP-box upgrades, but even the
unluckiest ones get discounts at the club’s fan shop, so they can buy luckier merchandise.
“This is a fantastic example of what creative commerce is all about. The best creative commerce doesn’t just deliver value, it completely reimagines what value can mean between a brand and a person,” said Jury President Phil Camarota, chief creative officer at Flywheel.
The campaign played a crucial role in boosting game attendances by 42%, even though Wisła Kraków had been relegated from the top division.
“The club turned to creativity and figured out a way to not just make the ticket or the experience more valuable, but they actually made the fans feel valued. It was such a different way to approach the problem that we hadn’t seen before,” Camarota said.
“They used creativity and technology to engage their audience in a really innovative way, and it inspired purchases and loyalty in ways we’d never seen.”
MONCLER’s ‘Warmer Together’ campaign, entered by Wesayhi, has won the Luxury Grand Prix for 2026. The accolade represents a rare success for the island of Malta.
‘Warmer Together’ brings together Hollywood icons Al Pacino and Robert De Niro in a cinematic exploration of friendship, emotional connection and shared warmth. Shot in New York by photographer Platon, the campaign features a series of black-and-white portraits and short-film-style conversations that highlight the duo’s decades-long friendship. Rather than focusing solely on product performance, Moncler positions its outerwear as a symbolic extension of human closeness, reinforcing the idea that warmth is ultimately about relationships rather than weather protection.
Supported by a reinterpretation of
song Lean on Me and filmed at the Rockefeller Center, the campaign blends fashion and film language to elevate Moncler’s brand narrative. Jury President Pum Lefebure, cofounder and chief creative officer, Design Army, said the campaign did a great job of “communicating warmth. It wasn’t trying to be loud or cool, or chase trends, it was a simple execution about human connections.”
Looking at the overall category, Lefebure said Luxury “has never been about speed or quantity. It is about trust, taste, and the time to create something meaningful”. Key measures for the jury included “4 Cs”, she said — “craft, customer, creativity and culture”. The group awarded one Gold Lion to ‘Tiffany & Co x Netflix’s Frankenstein’, entered by a combination of Tiffany divisions.
Sir John Hegarty: ‘Technology has stolen the beach’
THERE was a packed house on Thursday afternoon as the legendary Sir John Hegarty, creative director and co-founder of The Business of Creativity, took to the Debussy stage to deliver a talk provocatively entitled Stop Working In Advertising. He began by reflecting on how his visits to Cannes had changed over the years. “When you walked down the Croisette, not only could you see the beach, you could actually walk on it. That’s what it was like. But now technology has stolen the beach,” he said.
But it was the lack of change within the industry that he wanted to highlight.
“Unless we do something fundamentally different, unless we restructure, unless we actually refit how we operate our companies, change will not happen, and change needs to happen,” he warned.
“In reality, we are making a worse product. There’s no question about that. All the research points to it. People are disillusioned with advertising. They don’t like it,” he said.
In a world where people actively pay good money to avoid advertising on digital plat-
forms like Netflix, and actively buy in when they are entertained, advertising needs to entertain in order to engage. The industry needs to understand that it has to be loved more to succeed and putting it simply “do stuff people like”, he said. “We’ve perfected the art of stalking, rather than inspiring. And I do point out to people, in most countries, stalking is illegal. And actually, if you’re a brand stalking people, then you should be very, very careful.”
In another punchy moment he declared:
“Lets gid rid of the CEO.” As part of his approach to restructuring he said creative people should be represented at the top of a company with CEOs becoming creative executive officers.
“That is fundamentally important. If we don’t change the structure, if we don’t do something different, nothing is gonna change.”
Hegarty remains an optimist, however, and said when reality bites, “we will have to start creating work that actually engages, not just promotes, that engages and persuades, and to rediscover that part of our DNA”.
Alex Cuevas
SOME 400 million Gen-Z consumers regularly engage with esports, following professional gaming tournaments and teams across the world, according to a study published this week.
SOME 400 million Gen-Z consumers regularly engage with esports, following professional gaming tournaments and teams across the world, according to a study published this week.
The Esports Generation: Who They Are & Why They Spend was a collaboration between esports companies ESL FACEIT Group (EFG), Hero Esports and research firm Niko Partners.
The Esports Generation: Who They Are & Why They Spend was a collaboration between esports companies ESL FACEIT Group (EFG), Hero Esports and research firm Niko Partners.
Hero Esports CEO Danny Tang and EFG CEO Niccolo Maisto both spoke at Cannes Lions on Thursday, joined by University of Edinburgh psychologist Tongyu Liu, at the Selling Out Olympic Stadiums – How Esports Rewrite Attention/Fandom session.
Hero Esports CEO Danny Tang and EFG CEO Niccolo Maisto both spoke at Cannes Lions on Thursday, joined by University of Edinburgh psychologist Tongyu Liu, at the Selling Out Olympic Stadiums – How Esports Rewrite Attention/Fandom session.
The session expanded on some of the key themes in the white paper around Gen-Z’s engagement with esports — and the brands that participate in it.
The session expanded on some of the key themes in the white paper around Gen-Z’s engagement with esports — and the brands that participate in it.
It also reminded the Cannes Lions audience of the sheer scale of esports in China, where Hero Esports’ flagship KPL Grand Finals event at Beijing’s Bird’s Nest sta -
It also reminded the Cannes Lions audience of the sheer scale of esports in China, where Hero Esports’ flagship KPL Grand Finals event at Beijing’s Bird’s Nest sta-
dium last November sold out in just 12 seconds after its 62,000 tickets went on sale.
dium last November sold out in just 12 seconds after its 62,000 tickets went on sale.
Of the 400 million Gen-Z consumers who engage with esports, 71% regularly watch gaming content, including 66% who tune in to gaming livestreams. Meanwhile, 21% regularly go to esports events and gaming conventions.
Of the 400 million Gen-Z consumers who engage with esports, 71% regularly watch gaming content, including 66% who tune in to gaming livestreams. Meanwhile, 21% regularly go to esports events and gaming conventions.
The Cannes Lions session reinforced the message that brands should take notice of these trends — because esports fans will then get to know them. In fact, 85% of the fans surveyed said they notice branding in esports, and 74% say their purchasing is influenced by the ads and branding they see in gaming spaces.
The Cannes Lions session reinforced the message that brands should take notice of these trends — because esports fans will then get to know them. In fact, 85% of the fans surveyed said they notice branding in esports, and 74% say their purchasing is influenced by the ads and branding they see in gaming spaces.
The report also pointed to the growing diversity of the esports audience. Men still make up 68%, but women’s representation is growing, to the point that 41% of attendees at EFG’s recent DreamHack Birmingham event were women, while Hero Esports’ KPL events have seen this percentage exceed 50%.
The report also pointed to the growing diversity of the esports audience. Men still make up 68%, but women’s representation is growing, to the point that 41% of attendees at EFG’s recent DreamHack Birmingham event were women, while Hero Esports’ KPL events have seen this percentage exceed 50%.
JUDGEMENT, perspective and curiosity will be key for young creatives building their careers in the AI age, according to Alex Cuevas, head of people BBH USA.
JUDGEMENT, perspective and curiosity will be key for young creatives building their careers in the AI age, according to Alex Cuevas, head of people at BBH USA.
“You can make 400,000 pieces of work [with AI]. It’s scale. But then you need to make the decision — is it good or is it bad? That’s taste: being able to speak to why something is good or not is the judgement piece,” Cuevas told Lions Daily News.
“You make 400,000 pieces of work [with AI]. It’s scale. But then you need to make the decision — is it good or is it bad? That’s taste: being able to speak to why something is good or not is the judgement piece,” Cuevas told Lions Daily News.
“Curiosity plus judgement equals taste, and taste is your moat. That’s the differentiator: what can’t be replicated. That’s how you’ll still have a career.”
“Curiosity plus judgement equals taste, and taste is your moat. That’s the differentiator: what can’t be replicated. That’s how you’ll have a career.”
Cuevas had expanded on these thoughts in her Careers Reimagined: AI And The New Rules Of Creative Work session on Monday, which offered a practical playbook geared towards young marketers and creatives.
Cuevas had expanded on these thoughts in her Careers Reimagined: And The New Rules Of Creative session on Monday, which offered practical playbook geared towards young marketers and creatives.
“People, and especially young talent, are still the differentiator when it comes to AI. For Young Lions or anyone who is starting off their career, it’s really just using the tools to make your
“People, and especially young talent, are still the differentiator when it comes AI. For Young Lions or anyone who is starting off their career, it’s really just using the tools to make your
work better,” Cuevas said. One of her main pieces of advice for young creatives concerns improving their prompting skills — by stepping away from screens regularly and nurturing their interests.
work better,” Cuevas said. One of her main pieces of advice for young creatives concerns improving their prompting skills — by stepping away from screens regularly and nurturing their interests.
“You get better at prompting if your prompt is specific and based on your lived experiences. It means living: being more human than ever,” she said.
“You get better at prompting if your prompt is specific and based on your lived experiences. It means living: being more human than ever,” she said.
“I encouraged the Young Lions to do that: to have lived experiences. Every month, tap into a subject that you know nothing about, just to be different. It’s about living and being a human, getting off your phone and developing your own reference library.”
“I encouraged the Young Lions to do that: to have lived experiences. Every month, tap into a subject that you know nothing about, just to be different. It’s about living and being a human, getting off your phone and developing your own reference library.”
Cuevas also thinks that the current moment is an exciting one for young creatives, because they have the opportunity to experiment with AI, to develop their taste, and to understand what these technologies can bring to their work.
Cuevas also thinks that the current moment is an exciting one for young creatives, because they have the opportunity to experiment with AI, to develop their taste, and to understand what these technologies can bring to their work.
“There’s a lot of freedom,” she said. “It’s okay for you to experiment and play.”
“There’s a lot of freedom,” she said. “It’s okay for you to experiment and play.”
ACCENTURE Song, the creative, marketing and customer-experience division of Accenture, used a strategic briefing in Cannes to position its recent acquisition of creator specialist Whalar not as a standalone deal, but as the latest decisive step in a broader strategy of assembling and integrating
specialist marketing businesses. Speaking alongside leaders from Whalar, Work & Co and Droga5, Accenture Song CEO Ndidi Oteh said growth increasingly depends on combining different disciplines rather than treating them separately. “At Song, we don’t just talk about marketing,” she said. “We
talk about commerce, experience, sales and customer service in an integrated way, because it’s the harmony in those experiences that drives growth.”
For Whalar’s co-CEOs, the appeal of joining Accenture Song lay in the scale and access it provides. Emma Harman said the deal underlined how creators have moved “from the outside” of the industry to “the centre”. She argued that brands increasingly need “always-on connected creativity”.
Partner Jo Cronk described the deal as “a signal to the market and the whole industry about what it takes for brands to grow today”. She added: “The only way you can be culturally relevant is through transformative partnerships with creators.”
The rationale echoed that of Work & Co, acquired two-and-a-half years ago. Founder Mohan Ramaswamy cited access to global clients and broader capabilities while allow-
“I’M HERE to call for a course correction. And sadly, I’m here today because my youngest daughter isn’t.” Ian Russell’s youngest daughter was Molly Russell, who died aged 14 in 2017. He spoke at the Cannes Lions on Monday in his role as chair of the Molly Rose Foundation, which campaigns on suicide prevention, online safety and tech accountability.
“After her death, we searched for answers to questions that mostly began with ‘Why?’,” Russell said.
“We soon found that among the celebrities and pop stars followed by 14-year-olds, there was a stream of demented, life-sucking content that Molly had engaged with online.”
Instagram was the platform most in focus during the inquest, which took five years to complete, and ruled that harmful online content had contributed to her death in “a more than minimal way”.
“But despite this finding, appallingly, nearly nine years after Molly died, not much has changed,” Russell said.
“Shockingly, the platform’s algo -
Ian Russell
rithms are still recommending further harmful content to young and vulnerable users… and the Molly Rose Foundation talks to children who tell us they encounter harm
ing the product-design business to retain its focus. “We’re specialists,” he said. “We’re really good at designing and building digital experiences, but that doesn’t mean we have the deep-tech capabilities or the amazing industry experience that Accenture has as a whole.”
Droga5 London’s chief creative officer, Tara Ford, added: “It’s super-exciting to work with different specialists who have a different way of looking at things. The creativity is not just our output — it’s how we operate internally.”
Oteh said the success of the integration model depends on knowing when to preserve specialist cultures rather than absorb them. Song, she added, has been built on around 50 agencies and focuses on “what needs to be integrated” as well as “what needs to remain special”. The balance between specialist expertise and shared infrastructure was also central to Accenture Song creative chairperson Nick Law’s view of where creativity is heading. “The customer doesn’t distinguish between our internal silos,” he said. “They have one experience.”
online weekly, if not daily. None of this is acceptable.”
The Foundation has several calls for change, including for governments to introduce “evidence-based safety measures”.
“Online harms must be tackled at source, and most importantly, the platforms must not be allowed to algorithmically amplify them,” Russell said.
“Harmful tech is not inevitable. What is inevitable is that we will have to go beyond imperfect blanket bans if we are to make a meaningful difference.”
Those bans on social media for under-16s, which are being considered by a number of governments in 2026, represent a challenging moment for some of the biggest companies at the Cannes Lions. Session moderator Jake Dubbins, chair of the Conscious Advertising Network, called attendees’ attention to the implication that “the same platforms that take over the beaches here are no longer safe for our children”.
The third round of Lions winners at Cannes Lions 2026 were celebrated on Wednesday night, with honours awarded in five categories — Creative Data, Media, Direct, PR and Social & Creator — along with special awards to Media Network of the Year and PR Agency of the Year. And, as LIONS CEO Simon Cook put it, the work more than demonstrated “the power of creativity to drive growth for business, people and society”
Taking a Gold in PR was adam&eve\TBWA, London, for ‘Expedition Impossible’ for Columbia Sportswear, pictured here with Havas Red’s Dana Tahir, PR Jury President (right)
McCann Canada was presented with a Media Gold for a powerful campaign for Canadian mental-health service Kids Help Phone. ‘Defining Help’ seeks to reframe what ‘help’ really means to young people, challenging the assumption that help is only for moments of crisis
Carat, which has won one Grand Prix and three Golds at this year’s Festival, was named Media Network of the Year, one the global advertising industry’s top honours
The team from Special, Los Angeles, mobbed the stage to collect the Media Grand Prix for ‘Build Your Own Superbowl Commercial’ for Uber Eats. Media Jury President Sindhuja Rai (fourth right) praised the campaign for “turning the product into a communication platform, seamlessly uniting creativity, media, technology, talent, commerce and personalisation”
The Grand Prix in Social & Creator went to LePub, Milan, for ‘Could Have Been A Heineken’, which also took Golds in Direct and Media. The work turned voice notes into real-life beers, shared face to face
The Grand Prix in Creative Data was awarded to Circus Grey, Lima, for ‘SOS POS’ for BCP, allowing people to instantly block their bank accounts after a phone theft. Jury President Anupriya Acharya praised it for “simplicity and imaginative use of data”
The team from VML, Paris, celebrated their Gold PR Lion for ‘T-Rex Leather’ for Lab-Grown Leather, a campaign that brought prehistoric luxury to life, bringing together the concepts of sustainability and desirability
The Grand Prix in Direct was awarded to de la Cruz Ogilvy, San Juan, for Uva Bombón for Uva App. Uva, a challenger delivery app, transformed Bad Bunny’s Super Bowl show into immediate consumer action
The Grand Prix for PR went to Burson, London, for ‘The KitKat Heist’, one of the breakout campaigns of this year’s awards, with Gold Lions also awarded in Media, PR and Social & Creator. The campaign responded to a real-life heist with a marketing idea that helped crack open a live police investigation ‘CeraVe – The New Face of Legs’ won a Gold in Media for Beauty Co-Lab, New York, which transformed NBA star Kevin Durant’s viral dry-skin moment into marketing gold
In the limelight! The team from Grey, New York — plus limes — celebrated their Gold in Direct for ‘Lime Guides’ for Corona, which introduced laser-etched limes to ensure each wedge fits perfectly in a bottle of Corona
It was a great night for the team from VML, New York/Mexico City, which took a Gold in Direct for ‘Oreo Cows’. The playful campaign uses black-and-white ‘belted’ dairy cows to serve as Oreo ambassadors
David, London/Madrid, won a Social & Creator Gold for ‘Dove r/eal reviews’ for Dove Hair, which bravely put its product in the hands of Reddit’s harshest critics and turned their comments — good, bad and brutal — into a national campaign
Ogilvy Singapore took a Gold in Social & Creator for ‘Vaseline Originals’, which turned viral user hacks into official products. The team from Singapore are pictured here with Social & Creator Jury President LePub’s Mihnea Gheorghiu (third left)
It was a wild night for Burson, London: the team had barely left the stage after winning the PR Grand Prix for ‘The KitKat Heist’ when they were back up to collect the Award for PR Agency of the Year
Our Lego Agency, Bilund celebrated its Gold Social & Creator Lion for ‘Everyone Wants a Piece’, which invited fans to build their own Lego version of football’s most iconic trophy, the FIFA World Cup
The team from Rainbow Lobster Mexico City flagged up their Gold in Creative Data for ‘600k Network’ for Comando Con Venezuela. Citizens were mobilised to bypass censorship and provide proof of the outcome of Venezuela’s 2024 presidential election
LePub, Milan, celebrated a Media Gold for ‘Dark Mode Ads’ for Plenitude. The campaign used intelligent colour optimisation to prove that any ad can stay visible while using up to 74% less energy, calling for the more mindful use of energy in advertising
THE FINAL day of Cannes Lions 2026 sees Japan’s Sega Corporation discuss its spiky global phenomenon Sonic The Hedgehog at The Sonic Effect: How Japan’s Fandom Culture Elevates Playful Worlds. Thirty-five years old this year, Sonic the Hedgehog initially took the world by storm as a gaming franchise. But subsequently, Sonic has been reinvented through Hollywood films and social platforms, where he has garnered a global fanbase. During the session, Shuji Utsumi, Sega president and COO; Takashi Iizuka, Sega of America vice-president, executive officer and Sonic creative officer; and Tetsuya Honda, Honda Office CEO discuss how the blue blur with a fetish for gold rings has evolved into a cultural phenomenon.
Speaking to Cannes Lions Daily ahead of the session, Utsumi spoke of his pride that Sonic is still going strong. “A character born in Japan is now loved by people all over the world, transcending generations and borders, and that is our greatest joy,” he said.
“A character born in Japan is now loved by people all over the world, transcending generations and borders”
Sonic’s journey has not always been a smooth one, however. “While Sonic enjoyed tremendous support in the 1990s, the franchise went through challenging times in the 2000s,” Utsumi said. “However, we continued to evolve with the support of fans. Sonic’s willingness to take on new challenges over the years paved the way for the success of the
Hollywood film in 2020 and the global opportunities that followed.” Utsumi said fan power cannot be underestimated in the resilience of the Sonic brand: “Behind Sonic’s renewed growth has always been the unwavering support of fans across the globe. The fans have continued to support him and their passion has been the driving force behind Sonic’s evolution over the past 35 years.”
Brands need to recognise that fans today come in “incredibly diverse” forms, however. In the case of Sonic, “it is no longer only those who play games who are fans”, Utsumi said. “There are people who enjoy esports, livestream on social media, watch streams, attend film or music concerts, and engage through fashion and merchandise.”
While Sonic has extended into new spheres, the continued popularity of gaming remains core to the brand’s success. “Video games have evolved far beyond being merely an extension of toys,” Utsumi said. “They have become a global cultural force that connects people around the world, on a par with film and music.”
Utsumi said Sega’s goal is to entertain people through games, enrich their lives and expand their possibilities. “What fundamentally distinguishes games from film and music is the overwhelmingly involving experience they offer; one in which players take centre stage and, through their own choices, have the power to shape the world. Sega’s mission — ‘Empower the gamers’ — reflects our desire to deliver courage and strength to players through interactive experiences.”
If Utsumi has a single message for brand leaders it is the importance of “growing together with your fans”. He added: “Rather than attempting to control every aspect of a brand, it is essential to respect fans as partners. While maintaining a consistent core identity, brands need to preserve the essence and authenticity of IP and co-exist with the value created through fans’ imagination and creativity.”
MARIA Milusheva is both chief creative officer of OM Group, Bulgaria’s largest communications group, and the founding mother of its first femvertising agency
Much Better. As one of a cohort of Learning Speakers at Cannes Lions supercharging leadership and creative skills, she told Lions Daily News about the background to Much Better, an agency aimed at the female economy.
“I’ve been in the industry for 20 years, and I’ve worked for beers and cars, and I was always, mesmerised by the fact that we pay so much attention to the medium — is it digital? Is it traditional advertising? Is it social media? — but not on the actual audience,” she said. Women control or influence a huge amount of the spending — between 75-85% of all consumer decisions — “but can there be
AS BRANDS grapple with an increasingly fragmented media landscape, the traditional siloed approach to advertising is becoming both inefficient and expensive. Marketers are under pressure to deliver measurable outcomes across multiple channels while maintaining consistent consumer experiences, prompting a growing demand for unified platforms that can bridge the gap between brand storytelling, performance marketing and trusted media environments.
Teads, an omnichannel advertising platform, unveiled two products in the run-up to Cannes Lions aimed at future-proofing both advertiser and publisher strategies: CTV Ensemble, a unified suite for CTV advertising; and EngageOS, a publisher operating system designed to maximise revenue and audience engagement. Speaking to the Lions Daily News, Teads CMO Dani Cushion said brands are struggling to manage
channels in a world where consumer attention is spread across CTV, mobile devices and the web. In today’s fragmented ecosystem, brands don’t want to work with one partner for CTV and another for mobile or web: “They want a single platform that helps them build relationships with consumers across every screen.”
She added: “We can surround the consumer with the things they actually care about. We can ensure that the great creative that’s being made by our brand partners is delivered in the right way, not just on the big screen but across smaller screens as well, so CTV becomes a front door for their critical onmichannel advertising strategies.”
Billed as the industry’s first unified publisher-feed operating system, EngageOS is designed to maximise publisher revenue without compromising long-term
meaningful communication without really good insight?” she said. That thinking led to the creation of Much Better Agency, which is part of the larger OM Communication group. “We have all kinds of different agencies, but this really provides a deeper understanding of what it is to be a woman. And I think it really helps our clients to escape some stereotypes, and to think of more creative strategies to connect with women in a deeper, more emotional way.”
On the rise of AI she said the importance of strategy will become even greater: “This is another beautiful contradiction. You have this really fast-changing industry, but actually, we are coming back to the golden time of advertising, when the good idea is the only important thing that will really make the difference.”
audience loyalty. Rather than treating editorial recommendations and advertising inventory separately, the platform uses AIdriven decision-making to evaluate the value of an entire user session, optimising both content engagement and advertising yield.
BRANDS risk missing consumers at a crucial point in the purchase journey if they fail to take YouTube seriously, according to YouTube consultant Oscar Owen, who spoke yesterday at the Cannes Lions CMO Accelerator programme.
Owen, founder and CEO of London-based agency Owen Creative, addressed an audience of leading global marketers attending the invitation-only executive programme, which brings together senior brand leaders to discuss future marketing, creativity and leadership.
The magician turned YouTube creator built his own channel to more than 1.5 million subscribers before launching a consultancy that helps brands including Red Bull, Gymshark, Disney and the BBC develop YouTube strategies and content.
“The biggest mistake brands make is not using YouTube like entertainment,” Owen said. “Viewers actively choose what to watch, which means you’re competing with everyone from MrBeast down.”
Owen’s frontline experience as a YouTuber means he is perfectly positioned to advise clients. He said brands need to understand that YouTube has evolved far beyond its early reputation as a video-sharing site. “It’s news, it’s entertainment, it’s learning, it’s documentaries,” he said. “Our job is to help them understand how to crack the code.”
From teen fandom to a shared language for global brands, K-culture is redefining creativity. And brands are no longer tapping into the K-phenomenon — they are treating it as a core marketing asset, write Sookyung Kim and Dajeong Yu of BrandBrief, South Korea
K-POP and K-culture are no longer subcultures enjoyed by a niche audience. With the emergence of Korean fashion, beauty and technology into a global phenomenon, K-culture is becoming a shared language that global brands are using to communicate with consumers worldwide.
Global hits such as Squid Game and K-Pop Demon Hunters have become worldwide sensations. A Billboard survey conducted last year found that 82% of respondents listened to K-pop throughout the week. Brands are now using K-culture to speak to consumers and draw audiences into their product and service experiences. Rather than simply referencing or borrowing from K-culture, brands are increasingly using it as a core strategic asset in marketing. The active use of K-culture in brand marketing accelerated after the global success of Squid Game. Global brands
started integrating Squid Game IP into their own brand universes, inviting the fans of the series to engage directly with those brands.
After the release of Squid Game season one, the number of Korean-language learners on Duolingo increased by around 40%. In response, Duolingo launched a campaign around Squid Game season two that connected the two worlds. Duo, the brand’s owl mascot, appeared as a pink guard from Squid Game, chasing users with reminders and threats in a way that fused the tension of the series with Duolingo’s signature humour.
Johnnie Walker released a limited-edition Black Label bottle series featuring numbers from 001 to 456, echoing the contestant numbers in Squid Game. It marked the first time Johnnie Walker had collaborated with Korean content. The brand also recreated the Red Light,
Green Light game from the series in New York’s Times Square, setting up a sandy playground where rapper Lil Dicky, appearing as contestant No 12, won the game.
And Kia showed the Pink Guards encountering its new Sportage SUV, delivering a distinctive visual approach and brand message rarely seen in conventional automotive advertising. K-pop, meanwhile, is rewriting the defini-
tion of creativity as understood by the advertising and marketing industries through its participatory fandom structure, world-building, community-driven amplification, real-time social response, highly refined visual direction and multi-platform storytelling.
Since G-Dragon was named Chanel’s first Asian global ambassador in 2016, K-pop idols have emerged as one of the most powerful cultural touchpoints for luxury brands seeking to connect with younger generations. In 2023 alone, more than 30 K-pop idols were appointed global ambassadors for luxury brands. This trend is now expanding beyond the luxury houses into everyday consumer goods and lifestyle brands. Jennie has long been known as a Chanel ambassador and a luxury icon. But her appointment in 2026 as Vaseline’s first global ambassador showed how the influence of K-pop stars is extending beyond high fashion into body care and daily beauty.
A study of Gen Z K-pop fans in Spain also found that 55% of respondents had purchased a product endorsed by their favourite idol. This momentum now extends beyond BTS and Blackpink to next-generation K-pop stars such as Stray Kids and IVE’s Jang Won-young. What these artists wear, carry and use is no longer just a topic of conversation; it has become a global consumption signal that leads to search, sharing and purchase. For brands seeking to reach Gen Z, K-pop has become less an option and more a necessity.
Korean advertising is also moving beyond product explanation and evolving into entertainment-led content that audiences voluntarily spend time, and even money, to experience. An example is Hyundai Motor Company’s ‘Night Fishing’. The 13-minute snack movie was shot from the perspective of the built-in cameras of Hyundai’s IONIQ vehicle. Although it was effectively an automotive advertisement, it did not
directly explain the vehicle’s performance. Instead, it embedded the brand experience naturally within the content through the format of a genre film, immersive storytelling and the casting of acclaimed Korean actor Son Suk-ku in a leading role. By prompting consumers to visit theatres and pay to watch content that was close to advertising, the project demonstrated that advertising no longer has to remain confined to 15-second videos or product messages. More recently, girl group ILLIT has drawn attention for the campaign promoting their new single ‘It’s Me’. To promote the song, ILLIT released seven campaign films. Rather than simply splitting a music video into multiple versions, the group borrowed the format of advertising to promote the single and turn the track itself into a meme. It was a music promotion campaign that looked like advertising, but the advertising-like content was then consumed again as fan content. The boundaries between advertising and content are becoming increasingly blurred as they merge with K-culture.
Hongki Kim, CEO of Space Oddity, a music creator group and music data company, says that, at every turning point in the growth of K-pop and K-culture over the past 20 years, changes in communication environments and content platforms have aligned precisely. “K-pop has absorbed shifts in media faster than anyone else,” Kim adds. “In that process, it has evolved beyond music into a multidimensional IP, ranging from artists’ small talk on social media to intricately designed fictional universes.”
According to Kim, brands are entering an era in which they must become content and IP themselves, creating fans rather than simply consumers: “In that sense, it was only natural that K-pop became both a textbook and a playground for them. What K-pop and K-culture are redefining is not just content itself.
They are changing the entire system of how creativity is produced, consumed and amplified, and how brands build relationships with consumers. The global marketing industry is moving from campaign-centred advertising to culture-centred experiences, and K-culture is leading that shift by inviting younger generations into brand worlds.”
Seung-chul Yoo, a professor at Ewha Womans University, believes the recent moves by global brands are not simply attempts to ride the Korean Wave. “They are choosing K-culture as a new cultural interface to communicate with younger generations,” Yoo says. “The core reason K-culture has become a global marketing asset lies not only in the popularity of the content itself, but in the way that content moves. K-pop and K-dramas are not content that audiences simply watch and move on from. They are participatory content that fans interpret, translate, share and recreate. They function more like a constantly expanding cultural engine. This allows brands to approach consumers not as advertisements, but as cultural events.”
Yoo adds that the strength of K-culture does not lie in exporting something Korean in its original form, but in the way local sensibilities and global codes operate at the same time: “Korean lyrics, Korean food, Korean narratives and the Korean idol system are clearly local elements,” he says. “But through YouTube, Netflix, TikTok and Instagram, they are reconstructed into formats that consumers around the world can play with together. K-culture has now moved beyond a single-content genre and is changing the very way brands build relationships with younger generations. For global brands, K-culture is likely to become not just a source of collaboration, but a creative infrastructure for designing brand experiences.”
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ENTERED BY • COURAGE, TORONTO IDEA CREATION • COURAGE, TORONTO
PRODUCTION • THE DELI, TORONTO PR • COURAGE, TORONTO
D03/024 • UNITED STATES • BRAND-OWNED EXPERIENCES
TITLE • YOU MUST LOVE COKE BRAND • COCA-COLA
PRODUCT • COCA-COLA
ENTERED BY • GREY, NEW YORK
IDEA CREATION • GREY, NEW YORK / GREY ARGENTINA, BUENOS AIRES / VML, SAO PAULO / VML, NEW YORK
PRODUCTION • VANDALO, SAO PAULO
MEDIA • ESSENCEMEDIACOM CHILE, SANTIAGO / ESSENCEMEDIACOM URUGUAY, MONTEVIDEO
PR
• OGILVY PR, LONDON
POST PRODUCTION • VML, SAO PAULO
D05/036 • UNITED KINGDOM • LAUNCH/RELAUNCH
TITLE • CHUPA CHUPS IMPOSSIBLE BRAND • PERFETTI
PRODUCT • CHUPA CHUPS
ENTERED BY • BBH, LONDON
IDEA CREATION • BBH, LONDON
PRODUCTION • UNTOLD STUDIOS, LONDON
MEDIA • WAVEMAKER, LONDON
PR • EDELMAN, LONDON
POST PRODUCTION • UNTOLD STUDIOS, LONDON
D06/028 • BRAZIL •
360 INTEGRATED BRAND EXPERIENCE
TITLE
• PEDIGREE CARAMELO
BRAND • PEDIGREE
PRODUCT • PEDIGREE
ENTERED BY • ALMAPBBDO, SAO PAULO
IDEA CREATION • ALMAPBBDO, SAO PAULO
PRODUCTION • BLACK MADRE, SAO PAULO / SURREAL HOTEL ARTS, SAO PAULO / RAW AUDIO, SAO PAULO
MEDIA • ESSENCEMEDIACOM, SAO PAULO
PR • GIUSTI CREATIVE PR, SAO PAULO / IMAGEM CORPORATIVA, SAO PAULO
POST PRODUCTION • GAFANHOTTO POST, SAO PAULO
E03/005 • SINGAPORE •
SINGLE-MARKET CAMPAIGN
TITLE • VASELINE AND THE REAL NIGERIAN PRINCE
BRAND • VASELINE
PRODUCT • VASELINE BODY OIL
ENTERED BY • LEO, SINGAPORE
IDEA CREATION • LEO, SINGAPORE
PRODUCTION • AMA PSALMIST VISUALS, MARYLAND
MEDIA • ALL SEASONS ZENITH, LAGOS
PR • MSL, SINGAPORE / QUADRANT MSLGROUP, LAGOS / PERSUASION COMMUNICATIONS, LONDON
POST PRODUCTION • PRODIGIOUS SINGAPORE / FVSE, SINGAPORE
E04/066 • SINGAPORE •
SOCIAL BEHAVIOUR
TITLE • VASELINE VERIFIED
BRAND • VASELINE
PRODUCT • VASELINE
ENTERED BY • OGILVY SINGAPORE
IDEA CREATION • OGILVY SINGAPORE
PRODUCTION • WHITECOAT, SINGAPORE / BIGSYNC, SINGAPORE / FUSE, SINGAPORE
MEDIA • MINDSHARE SINGAPORE
PR • OGILVY SINGAPORE / OGILVY, LONDON / OGILVY SOUTH AFRICA, JOHANNESBURG / OGILVY, NEW YORK
POST PRODUCTION • WHITECOAT, SINGAPORE / CHAMELEON, SINGAPORE / BOXCUTTER, AUCKLAND
E05/027 • UNITED KINGDOM •
USE OF HUMOUR
TITLE • EXPEDITION IMPOSSIBLE
BRAND • COLUMBIA SPORTSWEAR
PRODUCT • SPORTSWEAR
ENTERED BY • ADAM&EVE\TBWA, LONDON
IDEA CREATION • ADAM&EVE\TBWA, LONDON
PRODUCTION • SMUGGLER, LONDON
POST PRODUCTION • CUT + RUN, LONDON
E08/008 • PERU •
MARKET DISRUPTION
TITLE • THE THOUSAND SPONSORS OF MUNI
BRAND • CLUB DEPORTIVO MUNICIPAL
PRODUCT • CLUB DEPORTIVO MUNICIPAL
ENTERED BY • MCCANN LIMA
IDEA CREATION • MCCANN LIMA
PRODUCTION • FERTIL, LIMA
PR • MCCANN LIMA
POST PRODUCTION • NATIVO POST, LIMA / AGOSTO MUSIC, LIMA
E09/004 • INDONESIA • CULTURAL ENGAGEMENT
TITLE • HEAR IN HIJAB BRAND • WARDAH
PRODUCT • WARDAH HIJAB EXPERT
SHAMPOO
ENTERED BY • DENTSU CREATIVE, JAKARTA
IDEA CREATION • DENTSU CREATIVE, JAKARTA
PR • DENTSU CREATIVE, JAKARTA
E09/027 • GERMANY • CULTURAL ENGAGEMENT
TITLE • THE PERIOD UNIFORM BRAND • SOMOS MARTINA
PRODUCT • SOMOS MARTINA
ENTERED BY • SERVICEPLAN GERMANY, MUNICH
IDEA CREATION • SERVICEPLAN GERMANY, MUNICH
PRODUCTION
• WE ARE DEMENTE, BOGOTA
MEDIA • MEDIAPLUS GERMANY, MUNICH
PR • TULOM, SAO PAULO
POST PRODUCTION • INMOTION, MUNICH
THE WEDDING RICE WIKIFARMER
MCCANN ATHENS
GREECE
B04/013 • GREECE • BRAND PURPOSE & IMPACT
TITLE • THE WEDDING RICE
BRAND • WIKIFARMER
PRODUCT • AGRICULTURE
ENTERED BY • MCCANN ATHENS
IDEA CREATION • MCCANN ATHENS
PRODUCTION • PARASOL, ATHENS
PR
• WEBER SHANDWICK, KIFISIA
POST PRODUCTION • PARASOL, ATHENS
B02/010 • UNITED STATES • PRODUCT
TITLE • PROTECT THE PEANUT
BRAND • MARS SNACKING
PRODUCT • M&M’S
ENTERED BY • BBDO, CHICAGO
IDEA CREATION • BBDO, CHICAGO
PRODUCTION • OMNICOM PRODUCTION, CHICAGO / NOBODYS, FORT MILL
PR • CASHMAN, WEST PALM BEACH
POST PRODUCTION • OMNICOM PRODUCTION, CHICAGO / LOBO, SÃO PAULO
B04/023 • BRAZIL •
BRAND PURPOSE & IMPACT
TITLE • CODE FOR THE PROTECTION AND INCLUSION OF BLACK CONSUMERS
BRAND • L’ORÉAL LUXE
PRODUCT • AFROLUXE
ENTERED BY • BETA COLLECTIVE, SAO PAULO
IDEA CREATION • BETA COLLECTIVE, SAO PAULO
PRODUCTION • PRODUCERIA, SAO PAULO / BLACK SISTERS IN LAW, RIO DE JANEIRO / MUUVIES, RIO DE JANEIRO / PINGADO AUDIO, SAO PAULO
E01/004 • SINGAPORE •
END-TO-END TRANSFORMATION
TITLE • VASELINE VERIFIED
BRAND • VASELINE
PRODUCT • VASELINE
ENTERED BY • OGILVY SINGAPORE
IDEA CREATION • OGILVY SINGAPORE
PRODUCTION • WHITECOAT, SINGAPORE / BIGSYNC, SINGAPORE / FUSE, SINGAPORE
MEDIA • MINDSHARE SINGAPORE
PR • OGILVY SINGAPORE / OGILVY, LONDON / OGILVY SOUTH AFRICA, JOHANNESBURG / OGILVY, NEW YORK
POST PRODUCTION • WHITECOAT, SINGAPORE / CHAMELEON, SINGAPORE / BOXCUTTER, AUCKLAND
A01/016 • SINGAPORE • TRANSFORMATIVE STRATEGY
TITLE • VASELINE VERIFIED
BRAND • VASELINE
PRODUCT • VASELINE
ENTERED BY • OGILVY SINGAPORE
IDEA CREATION • OGILVY SINGAPORE
PRODUCTION • WHITECOAT, SINGAPORE / BIGSYNC, SINGAPORE / FUSE, SINGAPORE
MEDIA • MINDSHARE SINGAPORE
PR • OGILVY SINGAPORE / OGILVY, LONDON / OGILVY SOUTH AFRICA, JOHANNESBURG / OGILVY, NEW YORK
POST PRODUCTION • WHITECOAT, SINGAPORE / CHAMELEON, SINGAPORE / BOXCUTTER, AUCKLAND
A01/030 • ITALY •
TRANSFORMATIVE STRATEGY
TITLE • TOCAYOS
BRAND • HEINEKEN
PRODUCT • HEINEKEN BEER
ENTERED BY • LEPUB, MILAN
IDEA CREATION • LEPUB, MILAN PRODUCTION • ANTIESTATICO, MADRID
C02/008 • SPAIN •
NEW RELATIONSHIP MODELS
TITLE • IKEA PREOWNED/SECOND-HAND MARKETPLACE
BRAND • IKEA
PRODUCT • IKEA SECOND HAND MARKETPLACE
ENTERED BY • MCCANN SPAIN, MADRID
IDEA CREATION • MCCANN SPAIN, MADRID
PRODUCTION • OMNICOM PRODUCTION, MADRID
MEDIA • IPROSPECT, MADRID
POST PRODUCTION • OMNICOM PRODUCTION, MADRID
LUCKY FAN INDEX
WISŁA KRAKÓW FOOTBALL CLUB
VML, WARSAW
POLAND
GRAND PRIX
C04/001 • POLAND •
CUSTOMER ACQUISITION & RETENTION
TITLE • LUCKY FAN INDEX
BRAND • WISŁA KRAKÓW FOOTBALL CLUB
PRODUCT • WISŁA KRAKÓW FOOTBALL CLUB
B03/001 • POLAND •
ENTERTAINMENT COMMERCE
TITLE • LUCKY FAN INDEX
BRAND • WISŁA KRAKÓW FOOTBALL CLUB
PRODUCT • WISŁA KRAKÓW FOOTBALL CLUB
ENTERED BY • VML, WARSAW
IDEA CREATION • VML, WARSAW
PRODUCTION • VML, WARSAW
PR • VML, WARSAW
A01/018 • UNITED STATES • CONSUMER GOODS
TITLE • OREO COWS
BRAND • OREO
PRODUCT • OREO
ENTERED BY • VML, NEW YORK
IDEA CREATION • VML, NEW YORK / VML, MEXICO CITY
PRODUCTION • BDS MUSIC, NA / BELIEVE TV, SANTIAGO / LANDIA, MEXICO CITY / VOX HAUS, PETROPOLIS
MEDIA • SPARK FOUNDRY, MEXICO CITY
PR • BURSON, MEXICO CITY
POST PRODUCTION • DORADO.TV, MEXICO CITY
C01/012 • COLOMBIA •
TARGET, INSIGHTS & PERSONALISATION
TITLE • MANDATORY VACATION PACKAGES
BRAND • CÁMARA COLOMBIANA DE COMERCIO
ELECTRÓNICO
PRODUCT • TRAVEL SALE
ENTERED BY • NAME, BOGOTA
IDEA CREATION • NAME, BOGOTA
MEDIA • NAME, BOGOTA
C04/011 • UNITED STATES • CUSTOMER ACQUISITION & RETENTION
TITLE • COPYCATS WELCOME
BRAND • CLASH ROYALE
PRODUCT • CLASH ROYALE
ENTERED BY • DAVID, NEW YORK
IDEA CREATION • DAVID, NEW YORK
PRODUCTION • BELIEVE TV, SANTIAGO / SONIC UNION, NEW YORK
E03/001 • FRANCE •
BREAKTHROUGH ON A BUDGET
TITLE • THE PASSWORD HEIST
BRAND • LEROY MERLIN
PRODUCT • LEROY MERLIN
ENTERED BY • BETC, PARIS
IDEA CREATION • BETC, PARIS / BETC FULLSIX, PARIS
PR • BETC, PARIS
E07/007 • ECUADOR •
CULTURAL ENGAGEMENT
TITLE • A DRUGSTORE IN YOUR PESEBRE BRAND • FARMACIAS ECONÓMICAS
PRODUCT • DRUGSTORE
ENTERED BY • BE FLAMINGO, QUITO
IDEA CREATION • BE FLAMINGO, QUITO / PUBLIFYER, QUITO
PRODUCTION • TITAN, QUITO
MEDIA • BE FLAMINGO, QUITO
PR • PUBLIFYER, QUITO
POST PRODUCTION • BE FLAMINGO, QUITO
A01/016 • COLOMBIA •
CONSUMER GOODS
TITLE • RESIZE THE PRICE BRAND • AGUILA
PRODUCT • BEER
ENTERED BY • DAVID, BOGOTA
IDEA CREATION • DAVID, BOGOTA / DAVID, MADRID
PRODUCTION
• AKIRA CINE, BOGOTA / DURO
ESTUDIO, BOGOTA / PARCHE FILMS, BOGOTA
MEDIA • ZENITH, BOGOTA
PR • ALINA VELEZ COMUNICACIONES, BOGOTA
B01/018 • SINGAPORE •
SOCIAL/INFLUENCER COMMERCE
TITLE • VASELINE ORIGINALS
BRAND • VASELINE
PRODUCT • VASELINE
ENTERED BY • OGILVY SINGAPORE
IDEA CREATION • OGILVY SINGAPORE
PRODUCTION • DOUBLE Y, BANGKOK
MEDIA • WPP UNITE, SINGAPORE
PR
• OGILVY SINGAPORE
POST PRODUCTION • CHAMELEON, SINGAPORE / NEON SOUND, SINGAPORE / POP & STRANGE, SINGAPORE
B03/021 • COLOMBIA • ENTERTAINMENT COMMERCE
TITLE • THE GOLDEN ZONE
BRAND • MCDONALD’S
PRODUCT • MCDONALD’S APP
ENTERED BY • TBWA\COLOMBIA, BOGOTÁ
IDEA CREATION • DDB COLOMBIA, BOGOTA
B05/003 • BRAZIL • INNOVATIVE USE OF COMMERCE CHANNEL
TITLE • AN AGENT “COMO A GENTE” BRAND • MAGAZINE LUIZA
PRODUCT • CORPORATE IMAGE
ENTERED BY • OGILVY, SAO PAULO
IDEA CREATION • OGILVY, SAO PAULO
PRODUCTION • LIGHTFARM STUDIOS, SÃO PAULO / SALVA STUDIO, SAO PAULO / JAMUTE, SAO PAULO
C06/013 • BRAZIL • BRAND STRATEGY
TITLE • CIF CLEAN MY NAME
BRAND • CIF
PRODUCT • CIF MIRACLE
ENTERED BY • DROGA5, PART OF ACCENTURE SONG, SAO PAULO
IDEA CREATION • DROGA5, PART OF ACCENTURE SONG, SAO PAULO
PRODUCTION • BIOSPHERA, SAO PAULO / GENCO FILM, SAO PAULO / BERIMBAU ESTUDIO, SAO CARLOS MEDIA • INITIATIVE, SAO PAULO / CADASTRA, SAO PAULO
PR • DROGA5, PART OF ACCENTURE SONG, SAO PAULO
E04/006 • CANADA • CSR
TITLE • CANCER PREVENTION DISCOUNTS
BRAND • BROADFORK PRODUCE
PRODUCT • CANCER PREVENTION DISCOUNTS
ENTERED BY • TANK WORLDWIDE, MONTREAL IDEA CREATION • TANK WORLDWIDE, MONTREAL
PRODUCTION • TANK WORLDWIDE, MONTREAL / RAINA+WILSON, TORONTO
MEDIA • TANK WORLDWIDE, MONTREAL / MINDSHARE CANADA, TORONTO / JUNGLE MEDIA, MONTREAL
PR • OGILVY HEALTH, NEW YORK
POST PRODUCTION • TANK WORLDWIDE, MONTREAL / MOOCO STUDIO, BUENOS AIRES / LATINA, BOGOTA / ESTUDIOS MACHINA, BOGOTA / ADIOSADIOS, BUENOS AIRES
E07/008 • GERMANY • CULTURAL ENGAGEMENT
TITLE • THE PERIOD UNIFORM BRAND • SOMOS MARTINA
PRODUCT • SOMOS MARTINA
ENTERED BY • SERVICEPLAN GERMANY, MUNICH IDEA CREATION • SERVICEPLAN GERMANY, MUNICH
PRODUCTION • WE ARE DEMENTE, BOGOTA MEDIA • MEDIAPLUS GERMANY, MUNICH
PR • TULOM, SAO PAULO
POST PRODUCTION • INMOTION, MUNICH
The official daily magazine for the International Festival of Creativity In print & online
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THREE WORDS
AXA FRANCE
PUBLICIS CONSEIL, PARIS FRANCE
B04/017 • FRANCE • CREATIVE EFFECTIVENESS FOR GOOD
TITLE • THREE WORDS
BRAND • AXA FRANCE
PRODUCT • HOME INSURANCE POLICIES
ENTERED BY • PUBLICIS CONSEIL, PARIS
IDEA CREATION • PUBLICIS CONSEIL, PARIS
PRODUCTION • PRODIGIOUS, PARIS
MEDIA • WAVEMAKER, PARIS
PR
• PUBLICIS CONSULTANTS, PARIS
POST PRODUCTION • PRODIGIOUS, PARIS
A01/007 • BRAZIL • CONSUMER GOODS
TITLE • PEDIGREE CARAMELO BRAND • PEDIGREE
PRODUCT • PEDIGREE
ENTERED BY • ALMAPBBDO, SAO PAULO
IDEA CREATION • ALMAPBBDO, SAO PAULO
PRODUCTION • BLACK MADRE, SAO PAULO / SURREAL HOTEL ARTS, SAO PAULO / RAW AUDIO, SAO PAULO
MEDIA • ESSENCEMEDIACOM, SAO PAULO
PR
• GIUSTI CREATIVE PR, SAO PAULO / IMAGEM CORPORATIVA, SAO PAULO
POST PRODUCTION • GAFANHOTTO POST, SAO PAULO
D03/012 • FRANCE • MARKET DISRUPTION
TITLE • THREE WORDS
BRAND • AXA FRANCE
PRODUCT • HOME INSURANCE POLICIES
ENTERED BY • PUBLICIS CONSEIL, PARIS
IDEA CREATION • PUBLICIS CONSEIL, PARIS
PRODUCTION • PRODIGIOUS, PARIS
MEDIA • WAVEMAKER, PARIS
PR • PUBLICIS CONSULTANTS, PARIS
POST PRODUCTION • PRODIGIOUS, PARIS
A04/001 • UNITED STATES • TRAVEL/LEISURE/RETAIL/RESTAURANTS
TITLE • FOOTBALL IS FOR FOOD BRAND • UBER EATS
PRODUCT • UBER EATS
ENTERED BY • SPECIAL, LOS ANGELES
IDEA CREATION • SPECIAL, LOS ANGELES
PRODUCTION • O POSITIVE, SANTA MONICA
MEDIA • PHD, NEW YORK
POST PRODUCTION • EXILE EDIT, LOS ANGELES / PARIAH CREATIVE, SANTA MONICA / TRAFIK, LOS ANGELES / ROYAL MUSTER, LOS ANGELES / ELEVEN SOUND, LOS ANGELES
B01/007 • BRAZIL • SINGLE MARKET
TITLE • PEDIGREE CARAMELO
BRAND • PEDIGREE
PRODUCT • PEDIGREE
ENTERED BY • ALMAPBBDO, SAO PAULO
IDEA CREATION • ALMAPBBDO, SAO PAULO
PRODUCTION • BLACK MADRE, SAO PAULO / SURREAL HOTEL ARTS, SAO PAULO / RAW AUDIO, SAO PAULO
MEDIA • ESSENCEMEDIACOM, SAO PAULO
PR • GIUSTI CREATIVE PR, SAO PAULO / IMAGEM CORPORATIVA, SAO PAULO
POST PRODUCTION • GAFANHOTTO POST, SAO PAULO
C04/004 • PORTUGAL •
RETENTION
TITLE • IKEA HIDDEN TAGS
BRAND • IKEA
PRODUCT • IKEA FURNITURE
ENTERED BY • UZINA, LISBON
IDEA CREATION • UZINA, LISBON
PRODUCTION • PLAYGROUND, LISBON / SALVA STUDIOS, LISBON
POST PRODUCTION • MUTE SOUND DESIGN, LISBON
D03/010 • SINGAPORE •
MARKET DISRUPTION
TITLE • VASELINE VERIFIED BRAND • VASELINE
PRODUCT • VASELINE
ENTERED BY • OGILVY SINGAPORE
IDEA CREATION • OGILVY SINGAPORE
PRODUCTION • WHITECOAT, SINGAPORE / BIGSYNC, SINGAPORE / FUSE, SINGAPORE
MEDIA • MINDSHARE SINGAPORE
PR • OGILVY SINGAPORE / OGILVY, LONDON / OGILVY SOUTH AFRICA, JOHANNESBURG / OGILVY, NEW YORK
POST PRODUCTION • WHITECOAT, SINGAPORE / CHAMELEON, SINGAPORE / BOXCUTTER, AUCKLAND
A04/008 • JAPAN •
TRAVEL/LEISURE/RETAIL/RESTAURANTS
TITLE • MY JAPAN RAILWAY
BRAND • JR GROUP
PRODUCT • TRAIN TRIP
ENTERED BY • DENTSU INC., TOKYO
IDEA CREATION • DENTSU INC., TOKYO
PRODUCTION • DENTSU INC., TOKYO / LULL INC., TOKYO / CREATIVE POWER UNIT, TOKYO / DENTSU CREATIVE PICTURES, TOKYO / 1-10HOLDINGS, KYOTO
MEDIA • DENTSU INC., TOKYO
B01/025 • UNITED STATES •
SINGLE MARKET
TITLE • PRESERVED PROMOS
BRAND • ZIPLOC
PRODUCT • ZIPLOC
ENTERED BY • VML, NEW YORK
IDEA CREATION • VML, NEW YORK
MEDIA • OMD USA, CHICAGO
PR • ZENO GROUP, CHICAGO
B03/002 • SINGAPORE • GLOBAL MARKET
TITLE • VASELINE VERIFIED
BRAND • VASELINE
PRODUCT • VASELINE
ENTERED BY • OGILVY SINGAPORE
IDEA CREATION • OGILVY SINGAPORE
PRODUCTION • WHITECOAT, SINGAPORE / BIGSYNC, SINGAPORE / FUSE, SINGAPORE
MEDIA • MINDSHARE SINGAPORE
PR
• OGILVY SINGAPORE / OGILVY, LONDON / OGILVY SOUTH AFRICA, JOHANNESBURG / OGILVY, NEW YORK
POST PRODUCTION • WHITECOAT, SINGAPORE / CHAMELEON, SINGAPORE / BOXCUTTER, AUCKLAND
B04/009 • BRAZIL •
CREATIVE EFFECTIVENESS FOR GOOD
TITLE • PEDIGREE CARAMELO
BRAND • PEDIGREE
PRODUCT • PEDIGREE
ENTERED BY • ALMAPBBDO, SAO PAULO
IDEA CREATION • ALMAPBBDO, SAO PAULO
PRODUCTION • BLACK MADRE, SAO PAULO / SURREAL HOTEL ARTS, SAO PAULO / RAW AUDIO, SAO PAULO
MEDIA • ESSENCEMEDIACOM, SAO PAULO
PR • GIUSTI CREATIVE PR, SAO PAULO / IMAGEM CORPORATIVA, SAO PAULO
POST PRODUCTION • GAFANHOTTO POST, SAO PAULO
C01/003 • FRANCE • LAUNCH
TITLE • THREE WORDS
BRAND • AXA FRANCE
PRODUCT • HOME INSURANCE POLICIES
ENTERED BY • PUBLICIS CONSEIL, PARIS
IDEA CREATION • PUBLICIS CONSEIL, PARIS
PRODUCTION • PRODIGIOUS, PARIS
MEDIA • WAVEMAKER, PARIS
PR
• PUBLICIS CONSULTANTS, PARIS
POST PRODUCTION • PRODIGIOUS, PARIS
D01/005 • CANADA •
BREAKTHROUGH ON A BUDGET
TITLE • U UP?
BRAND • IKEA
PRODUCT • IKEA
ENTERED BY • RETHINK, TORONTO
IDEA CREATION • RETHINK, TORONTO
MEDIA • CARAT, TORONTO
BRONZE LION
D03/005 • FRANCE • MARKET DISRUPTION
TITLE • THE FINAL COPY OF ILON SPECHT
BRAND • L’ORÉAL PARIS
PRODUCT • L’ORÉAL PARIS
ENTERED BY • MCCANN PARIS
IDEA CREATION • MCCANN PARIS
PRODUCTION • TRAVERSE32, NEW YORK / BREAKWATER STUDIOS, LOS ANGELES
MEDIA • TRAVERSE32, NEW YORK / BEAUTY CO-LAB, NEW YORK THE CARBON FOOTPRINT OF THE PRINT EDITION OF THE LIONS DAILY NEWS ENDS WHEN IT ARRIVES IN CANNES
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SUPERNOVA ADAPTIVE ADIDAS
TBWA\CANADA, TORONTO CANADA
B04/019 • CANADA • SOCIETAL INNOVATION
TITLE • SUPERNOVA ADAPTIVE
BRAND • ADIDAS
PRODUCT • ADIDAS
ENTERED BY • TBWA\CANADA, TORONTO IDEA CREATION • TBWA\CANADA, TORONTO PRODUCTION • OMNICOM PRODUCTION, TORONTO / OVERFLOW PRODUCTIONS, ORLANDO / MIRROR3D VFX, TORONTO / SUNEEVA, TORONTO / SAWTOOTH STUDIOS, ORLANDO
POST PRODUCTION • NIMIOPERE, TORONTO / ALTER EGO, TORONTO / CITIZEN MUSIC, SANTA MONICA / OSO AUDIO, TORONTO / MOTOMOTUS, TORONTO
B03/015 • NETHERLANDS •
ENVIRONMENTAL INNOVATION
TITLE • UTRECHT ENERGIZED
BRAND • RENAULT
PRODUCT • RENAULT
ENTERED BY • PUBLICIS, AMSTERDAM IDEA CREATION • PUBLICIS, AMSTERDAM PRODUCTION • 10/10, AMSTERDAM
A01/020 • JAPAN • EARLY-STAGE TECHNOLOGY
TITLE • RADIO TIME MACHINE
BRAND • NICHII GAKKAN CO., LTD.
PRODUCT • RADIO TIME MACHINE
ENTERED BY • TBWA\HAKUHODO, TOKYO
IDEA CREATION • TBWA\HAKUHODO, TOKYO PRODUCTION • BLACK CAT WHITE CAT MUSIC, TOKYO / AOI PRO, TOKYO
PR • KMC, TOKYO
POST PRODUCTION • AOI PRO, TOKYO
B01/003 • PERU •
BRAND-LED INNOVATION
TITLE • SOS POS
BRAND • BCP
PRODUCT • SOS POS
ENTERED BY • CIRCUS GREY, LIMA
IDEA CREATION • CIRCUS GREY, LIMA PRODUCTION • CIRCUS GREY, LIMA
B03/002 • FRANCE •
ENVIRONMENTAL INNOVATION
TITLE • T-REX LEATHER
BRAND • LAB-GROWN LEATHER
PRODUCT • LEATHER
ENTERED BY • VML, PARIS
IDEA CREATION • VML, PARIS
PRODUCTION • WPP PRODUCTION, PARIS / KUEST, PARIS
PR • FOR THE RIGHT REASONS, AMSTERDAM / PROPELLER, LONDON
WARMER TOGETHER MONCLER
WESAYHI, SLIEMA MALTA
A04/003 • MALTA • 360 CAMPAIGN
TITLE • WARMER TOGETHER
BRAND • MONCLER
PRODUCT • MONCLER BRAND
ENTERED BY • WESAYHI, SLIEMA
IDEA CREATION • WESAYHI, SLIEMA
PRODUCTION • WESAYHI, SLIEMA / AP STUDIO, NEW YORK / STUDIO PLATON, NEW YORK
POST PRODUCTION • WESAYHI, SLIEMA / ARKETYPE, MONTREAL / CULT NATION, MONTREAL
A08/007 • UNITED STATES •
PARTNERSHIPS/COLLABORATIONS
TITLE • TIFFANY & CO. X NETFLIX’S FRANKENSTEIN
BRAND • TIFFANY & CO. AND NETFLIX BRAND CREATIVE STUDIO
PRODUCT • TIFFANY & CO. JEWELRY & GUILLERMO DEL TORO’S FRANKENSTEIN
ENTERED BY • TIFFANY & CO, NEW YORK
IDEA CREATION • NETFLIX, LOS ANGELES / THE TIFFANY ARCHIVES, NEW YORK / TIFFANY
GLOBAL MARKETING, NEW YORK / TIFFANY
GLOBAL MEDIA, NEW YORK / TIFFANY BRAND
CREATIVE, NEW YORK
PRODUCTION • MOA STUDIO, MADRID / LUSHPOP STUDIOS, AVON / BLINKINK, LONDON
MEDIA • WAVEMAKER, NEW YORK
PR • TIFFANY GLOBAL PUBLIC RELATIONS, NEW YORK
A11/003 • BRAZIL •
DIVERSITY, EQUITY & INCLUSION
TITLE • CODE FOR THE PROTECTION AND INCLUSION OF BLACK CONSUMERS
BRAND • L’ORÉAL LUXE
PRODUCT • AFROLUXE
ENTERED BY • BETA COLLECTIVE, SAO PAULO
IDEA CREATION • BETA COLLECTIVE, SAO PAULO
PRODUCTION • PRODUCERIA, SAO PAULO / BLACK SISTERS IN LAW, RIO DE JANEIRO / MUUVIES, RIO DE JANEIRO / PINGADO AUDIO, SAO PAULO
A01/010 • FRANCE • EXPERIENCE
TITLE • BORN IN ROMA RENDEZ-VOUS IVORY COLLECTION / STUDIO 54 EXPERIENCE
BRAND • VALENTINO BEAUTY
PRODUCT • BORN IN ROMA RENDEZ-VOUS IVORY COLLECTION
ENTERED BY • MAISON BETC, PARIS
IDEA CREATION • MAISON BETC, PARIS
PRODUCTION • PROSE ON PIXELS, PARIS / BLUE REVOLVER, PARIS / YKONE, PARIS
PR • LUCIEN PAGES, PARIS
A06/007 • UNITED STATES •
BRAND STORYTELLING
TITLE • OWNERS REUNIONS
BRAND • PORSCHE LATIN AMERICAN›
PRODUCT • PORSCHE
ENTERED BY • THE COMMUNITY, MIAMI
IDEA CREATION
• THE COMMUNITY, MIAMI
PRODUCTION • MADREFOCA, MEXICO CITY
POST PRODUCTION • JACARANDA FILMS, MEXICO CITY / ATOMICA, JUAREZ
THE PUB THAT REFUSED TO DIE HEINEKEN LEPUB, MILAN ITALY
C07/028 • ITALY • CULTURAL ENGAGEMENT
TITLE • THE PUB THAT REFUSED TO DIE BRAND • HEINEKEN
PRODUCT • HEINEKEN GREEN
ENTERED BY • LEPUB, MILAN
IDEA CREATION • LEPUB, MILAN / PUBLICIS, DUBLIN
PRODUCTION • ANTIDOTE FILMS, DUBLIN
MEDIA • DENTSU X, DUBLIN
PR
• THE ROMANS, LONDON / THINKHOUSE, DUBLIN
POST PRODUCTION • PRODIGIOUS, MILAN / COMPANY 3, LONDON
A06/013 • SWEDEN • CONSUMER SERVICES/B2B
TITLE • THE FAROE ISLANDS SPACE PROGRAM BRAND • SKF
PRODUCT • TECHNICAL SOLUTIONS AND INNOVATIONS, BEARINGS, SEALS AND LUBRICATION
ENTERED BY • NORD, STOCKHOLM
IDEA CREATION • NORD, STOCKHOLM
B02/038 • UNITED KINGDOM • AUDIENCE INSIGHT
TITLE • DOVE R/EAL REVIEWS
BRAND • DOVE HAIR
PRODUCT • DOVE 10-IN-1 SERUM MASK
ENTERED BY • DAVID, LONDON
IDEA CREATION • DAVID, LONDON / DAVID, MADRID
PRODUCTION • IMPOSTER, LONDON / PIJAMA AI & VFX STUDIO, LONDON / DESEIF, MADRID / PICKLE MUSIC, MADRID
MEDIA • MINDSHARE, LONDON / MINDSHARE, NEW YORK
PR
• EDELMAN, NEW YORK
POST PRODUCTION • WPP PRODUCTION, MADRID
C01/004 • SWEDEN •
CHALLENGER BRAND STRATEGY
TITLE • THE SWEDISH PRESCRIPTION
BRAND • VISIT SWEDEN
PRODUCT • VISIT SWEDEN
ENTERED BY • PRIME WEBER SHANDWICK, STOCKHOLM
IDEA CREATION • PRIME WEBER SHANDWICK, STOCKHOLM
PRODUCTION • PRIME WEBER SHANDWICK, STOCKHOLM / FLX 2.0, STOCKHOLM / CRAZY
PICTURES, NORRKOPING
MEDIA • PRIME WEBER SHANDWICK, STOCKHOLM
PR • PRIME WEBER SHANDWICK, STOCKHOLM
POST PRODUCTION • FLX 2.0, STOCKHOLM / CRAZY PICTURES, NORRKOPING
C07/043 • ITALY •
CULTURAL ENGAGEMENT
TITLE • TOCAYOS
BRAND • HEINEKEN
PRODUCT • HEINEKEN BEER
ENTERED BY • LEPUB, MILAN
IDEA CREATION • LEPUB, MILAN
PRODUCTION • ANTIESTATICO, MADRID
A01/051 • UNITED KINGDOM •
CONSUMER GOODS
TITLE • MADE TO SHARE
BRAND • CADBURY
PRODUCT • DAIRY MILK
ENTERED BY • VCCP, LONDON
IDEA CREATION • VCCP, LONDON
PRODUCTION • GIRL&BEAR, LONDON
MEDIA • SPARK FOUNDRY, LONDON
PR • OGILVY PR, LONDON
POST PRODUCTION • KINTZING, LONDON / STANLEYS POST, LONDON / TENTHREE, LONDON / ELECTRIC THEATRE COLLECTIVE, LONDON / KING LEAR MUSIC & SOUND, LONDON
A02/010 • UNITED STATES •
HEALTHCARE
TITLE • #UNCENSORYOURHEALTH
BRAND • LADYWELL
PRODUCT • LADYWELL SUPPLEMENTS FOR WOMEN
ENTERED BY • SAATCHI & SAATCHI, EL SEGUNDO
IDEA CREATION • SAATCHI & SAATCHI, EL SEGUNDO
PRODUCTION • SAATCHI & SAATCHI, EL SEGUNDO / TOOL OF NORTH AMERICA, SANTA MONICA
MEDIA • SAATCHI & SAATCHI, EL SEGUNDO / DSPLUS, CHICAGO
PR • SAATCHI & SAATCHI, EL SEGUNDO
POST PRODUCTION
• SAATCHI & SAATCHI, EL SEGUNDO / HARBOR PICTURE COMPANY, LOS ANGELES
B02/072 • SINGAPORE •
AUDIENCE INSIGHT
TITLE • VASELINE VERIFIED
BRAND • VASELINE
PRODUCT • VASELINE
ENTERED BY • OGILVY SINGAPORE
IDEA CREATION • OGILVY SINGAPORE
PRODUCTION • WHITECOAT, SINGAPORE / BIGSYNC, SINGAPORE / FUSE, SINGAPORE
MEDIA • MINDSHARE SINGAPORE
PR • OGILVY SINGAPORE / OGILVY, LONDON / OGILVY SOUTH AFRICA, JOHANNESBURG / OGILVY, NEW YORK
POST PRODUCTION • WHITECOAT, SINGAPORE / CHAMELEON, SINGAPORE / BOXCUTTER, AUCKLAND
C01/034 • UNITED KINGDOM •
CHALLENGER BRAND STRATEGY
TITLE • A TIME AND A PLACE BRAND • CLAUDE
PRODUCT • CLAUDE
ENTERED BY • MOTHER, LONDON
IDEA CREATION • MOTHER, LONDON
PRODUCTION • BISCUIT FILMWORKS UK, LONDON
PR • EDELMAN, NEW YORK
C02/006 • CANADA •
BREAKTHROUGH ON A BUDGET
TITLE • U UP?
BRAND • IKEA
PRODUCT • IKEA
ENTERED BY • RETHINK, TORONTO
IDEA CREATION • RETHINK, TORONTO
MEDIA • CARAT, TORONTO
D02/019 • ITALY •
COLLABORATION
TITLE • TOCAYOS
BRAND • HEINEKEN
PRODUCT • HEINEKEN BEER
ENTERED BY • LEPUB, MILAN
IDEA CREATION • LEPUB, MILAN
PRODUCTION • ANTIESTATICO, MADRID
D02/021 • FRANCE •
COLLABORATION
TITLE • DELIVERED BY TETRIS
BRAND • LA POSTE
PRODUCT • LA POSTE
ENTERED BY • BETC, PARIS
IDEA CREATION • BETC, PARIS / HAVAS PARIS
PRODUCTION • PROSE ON PIXELS, PARIS / GUM, PARIS
PR • BETC, PARIS
A01/005 • UNITED KINGDOM •
CONSUMER GOODS
TITLE • DOVE R/EAL REVIEWS
BRAND • DOVE HAIR
PRODUCT • DOVE 10-IN-1 SERUM MASK
ENTERED BY • DAVID, LONDON
IDEA CREATION • DAVID, LONDON / DAVID, MADRID
PRODUCTION • IMPOSTER, LONDON / PIJAMA
AI & VFX STUDIO, LONDON / DESEIF, MADRID / PICKLE MUSIC, MADRID
MEDIA
• MINDSHARE, LONDON / MINDSHARE, NEW YORK
PR
• EDELMAN, NEW YORK
POST PRODUCTION • WPP PRODUCTION, MADRID
A01/022 • KENYA • CONSUMER GOODS
TITLE • PAID SICK LEAVE FOR COWS
BRAND • TOO GOOD
PRODUCT • MILK
ENTERED BY • THE PARTNERSHIP AGENCY, NAIROBI
IDEA CREATION • THE PARTNERSHIP AGENCY, NAIROBI
PRODUCTION
• FINGERPRINT FILMS, MUMBAI
POST PRODUCTION • FINGERPRINT FILMS, MUMBAI
A01/038 • UNITED STATES • CONSUMER GOODS
TITLE • PRESERVED PROMOS
BRAND • ZIPLOC
PRODUCT • ZIPLOC
ENTERED BY • VML, NEW YORK
IDEA CREATION • VML, NEW YORK
MEDIA • OMD USA, CHICAGO
PR
• ZENO GROUP, CHICAGO
B01/006 • UNITED STATES • DATA & ANALYTICS
TITLE • ZIP CODE EXAM
BRAND • EQUALITY HEALTH FOUNDATION
PRODUCT • ZIP CODE EXAM
ENTERED BY • AREA 23, NEW YORK
IDEA CREATION • AREA 23, NEW YORK
PRODUCTION • DALMATIAN COW, LOS ANGELES / BUMBLEBEAT, SAO PAULO
MEDIA • RAPPORT, NEW YORK / UM, NEW YORK
PR
• WEBER SHANDWICK, NEW YORK
POST PRODUCTION • PREYMAKER, NEW YORK / STUDIORX, NEW YORK
C05/008 • UNITED ARAB EMIRATES •
CSR
TITLE • RECIPE FOR CHANGE
BRAND • PUCK
PRODUCT • SPREAD CHEESE
ENTERED BY
• FP7 MCCANN DUBAI
IDEA CREATION • FP7 MCCANN DUBAI
PRODUCTION • CRAFT DUBAI
MEDIA • CARAT, DUBAI
PR • CURRENT GLOBAL, DUBAI
C05/017 • GERMANY •
CSR
TITLE • THE PERIOD UNIFORM
BRAND • SOMOS MARTINA
PRODUCT • SOMOS MARTINA
ENTERED BY • SERVICEPLAN GERMANY, MUNICH
IDEA CREATION • SERVICEPLAN GERMANY, MUNICH
PRODUCTION
• WE ARE DEMENTE, BOGOTA
MEDIA • MEDIAPLUS GERMANY, MUNICH
PR • TULOM, SAO PAULO
POST PRODUCTION • INMOTION, MUNICH
C07/050 • UNITED STATES •
CULTURAL ENGAGEMENT
TITLE • NO FRAME MISSED
BRAND • APPLE
PRODUCT • IPHONE
ENTERED BY • TBWA\MEDIA ARTS LAB, LOS ANGELES
IDEA CREATION • TBWA\MEDIA ARTS LAB, LOS ANGELES
PRODUCTION • O2 FILMES, SAO PAULO / SATELITE AUDIO, SAO PAULO
MEDIA • OMD USA, CALIFORNIA
POST PRODUCTION • PSYCHONLOOK, SAO PAULO / PSYCHONLOOK, SAO PAULO
D02/002 • SWEDEN • COLLABORATION
TITLE • EXPLORE YOUR STORY
BRAND • COACH
PRODUCT • LUXURY FASHION ACCESSORIES
ENTERED BY • FORSMAN & BODENFORS, GOTHENBURG
IDEA CREATION • FORSMAN & BODENFORS, GOTHENBURG / MANDAI LOOP, STOCKHOLM
PRODUCTION • NEW LAND, STOCKHOLM / INDUSTRY ART, LONDON
POST PRODUCTION • NEW LAND, STOCKHOLM
E01/013 • FRANCE • PRODUCTS/SERVICES
TITLE • LONG LASTING PASSPORT
BRAND • DARTY
PRODUCT • LONG LASTING PASSPORT
ENTERED BY • PUBLICIS CONSEIL, PARIS
IDEA CREATION • PUBLICIS CONSEIL, PARIS
E03/040 • UNITED STATES • BRAND STRATEGY
TITLE • COLUMBIA
BRAND • COLUMBIA SPORTSWEAR
PRODUCT • COLUMBIA SPORTSWEAR
ENTERED BY • COLUMBIA, PORTLAND
IDEA CREATION • ADAM&EVE\TBWA, LONDON
