WPP was today named the most creative company of the year at the Cannes Lions International Festival of Creativity.
WPP agencies collected a total of 176 Lions, including 1 Titanium Lion, 4 Grand Prix, 36 Gold, 47 Silver and 88 Bronze, with winners representing 40 different countries.
For the first time since 2019, the Cannes LIONS International Festival of Creativity took place in person to showcase the best creative work from around the industry.
A total of 25,464 entries from 87 countries which, combined, provided a phenomenal insight into creative marketing globally. The sheer volume of entries demonstrated the value of creativity to corporates, to trade and to growth.
Ogilvy was awarded Network of the Year and took home a Titanium Lion together with Wavemaker for Shah Rukh Khan My Ad for Cadbury, a data-driven campaign that personalised ads for local businesses impacted by COVID-19.
WPP winners and shortlisted entries came from every part of the company, and from across its agencies. VMLY&R won a Grand Prix for its I Will Always Be Me campaign for Dell and Intel, designed to make it easier for people with motor neurone disease to bank their voice by reading a story, and a Grand Prix for Maxx Flash’s The Killer Pack, which helps, through biodegradable packaging, combat deadly diseases like malaria and dengue caught outdoors in India. Speaking in Color for Sherwin Williams by Wunderman Thompson won the Grand Prix for Creative B2B – a prestigious win in the inaugural year of this category – for its voice-activated colour-selection system. A Grand Prix for Media Placement was also awarded to MediaCom’s Hope Reef for Mars Petcare (with AMV BBDO).
The Creative Company of the Year award is given to the company which earned the most points across its agencies. WPP was also the most awarded company in the Creative Business Transformation category, reflecting the company’s expertise in creating new and innovative products and services for clients, and reimagining customer experiences or business models.
The award comes at the end of a week when WPP also announced a pro bono partnership with the government of Ukraine on a global campaign to demonstrate that Ukraine is open for business, launched an initiative with IBM to tackle bias in advertising technology, and supported the industry’s global Ad Net Zero plan that follows the lead of WPP’s own net zero commitments announced last year.
WPP was named the most creative company of the year at the Cannes Lions International Festival of Creativity. WPP agencies collected a total of 190 Lions, including a Titanium Lion, 12 Grand Prix, 28 Gold, 57 Silver and 92 Bronze, with winners representing 38 different countries.
The award is based on the accumulated points total from agencies within each holding company. It is the first time that WPP has won the Holding Company of the Year award since 2017, and reflects investment in creative talent as part of WPP’s strategy for growth.
WPP winners and shortlisted entries came from every part of the company, and from across its agencies. AKQA’s H&M Looop, a pioneering in-store recycling system designed to inspire a more sustainable approach to clothing among consumers, picked up a Grand Prix for Design, as did Superunion’s stunning work for sustainable packaging brand Notpla. VMLY&R’s ingenious I Am for Starbucks, which created a safe space for trans people in Brazil to have their names legally changed, was awarded the Glass Lion for Change. Degree Inclusive by Wunderman Thompson for Unilever, the adaptive deodorant for people with upper limb disabilities or visual impairment, was an Innovation Grand Prix winner.
WPP today revealed the five winners of its first Extraordinary Awards, designed to celebrate and recognise the best work from across the company and its agency brands.
This year’s winners were selected from almost 1,000 entries across five categories. Four reflect WPP’s offer: Communications, Experience, Commerce and Technology, while the fifth – the top prize – is for the best example of Creative Transformation for clients.
90 leaders from across WPP, drawn from all disciplines, from creatives and strategists to planners and technologists, came together to review the entries in a global judging process.
The entries, from 100 cities and all WPP’s networks, encompassed everything from inspired art and copy, powerful communications strategies and inventive media planning to hyper-engaging digital experiences, stunningly effective ecommerce platform design and game-changing martech implementation.
Mark Read, CEO of WPP, said: “Creativity is more than just a great idea. It has the ability to bring about change and to transform businesses. In a year defined by disruption, we launched these awards to celebrate our people and recognise work that demonstrates the power of creativity to build better futures for our clients and communities.”
The five winners, revealed today during an internal award show for all WPP employees:
Against all industry aesthetic practices, the team launched an impactful campaign that featured the iconic Whopper rotting over a period of 35 days. This rule-breaking campaign sent a simple and clear message to consumers – Burger King food has no preservatives.
By showing a future that shouldn’t exist, this integrated campaign – supported by digital OOH, online films, social posts and ongoing VR experiences – helped recruit and inspire the next generation to change it.
In response to the outbreak of COVID-19, the team re-designed and rolled out Handle on Hygiene 3.0, a world-first innovation and impactful shopper activation campaign to improve hygiene, developed in partnership with Barrows.
This customised app, developed in consultation with rabbinical authorities, uses the power of AI to determine the end of a woman’s menstruation cycle, replacing the need for Orthodox Israeli women to undergo uncomfortable, in-person consultations with a rabbi.
For more details on the winning entries, special commendations and the full shortlist, and to hear from the panel of judges, please go to wpp.com/wpp-extraordinary-awards.
The enormous – and underserved – market for people with disabilities is ripe for innovation and disruption. Companies that understand this and take advantage of the opportunity will be making a strategic decision with long-term benefits.
I wanted to dedicate this months blog post to Christina Mallon who leads Inclusive Design at WPP agency Wunderman Thompson, where she consults brands on how to implement inclusive design practices into their business strategies.
Christina is a woman at the forefront of an important movement towards inclusivity in design and advertising. She has a unique and special voice, championing individuals often ignored by these industries–particularly those burdened by physical disabilities.
At the start of Christina’s professional career, her arms slowly became paralyzed. The transition to “disabled” was challenging but has never slowed her down for a second. As a young digital marketing professional starting her career with a physical “disability” she felt under-represented as a consumer. Rather than being discouraged, she recognized the opportunity to grow awareness and make a measurable impact within the industry.
This realization inspired her to start an inclusive design practice at Wunderman Thompson and lead one of the only incubators focus on wearable tech for people with disabilities called Open Style Lab. She has partnered with brands like Macy’s, IKEA, Tommy Hilfiger, and Microsoft on how to make their customer experiences more inclusive.
Christina outlines her point of view of accessibility verses inclusivity.
Accessibility enables people with disabilities to make use of products and services, but it is very often an item on a checklist rather than part of the DNA of a design.
Inclusive design puts usability by the largest number of people – including those with disabilities – at the very heart of the creative process. The end result can be a hands-free controller for a videogame, a handbag with Velcro closing for people with limited upper-body mobility or a space with lowered countertops for people who use wheelchairs. Inclusive design works best when it’s not intended for a specific need, but rather benefits anyone who uses it.
Disabilities can be divided into four categories: mobility, vision, hearing and neurological. Simply put, a disability might seem like a personal health condition but the World Health Organization (WHO) does not define it that way. Instead, it says that disability reflects the interaction of the features of a person and the features of the society they live in. Disability occurs when a product, service or environment is not suited to a person’s capabilities.
Getting started: how do you design inclusively?
On the surface this would seem a varied and difficult task, with as many solutions as there are different disabilities. But this is not the case. The goal of inclusive design is to create one product that works for all. Instead of helping people conform to inflexible systems, products and services should be able to adapt to the capabilities of whoever needs to use them.
We can understand this better by looking at the difference between an accessible parking spot and a smart assistant with a screen. The parking spot improves access to an already existing infrastructure that is not designed to cater for people with disabilities. A smart assistant with a screen can be adapted to the needs of whoever is using it. It might enable someone with limited mobility to turn on lights or someone with limited vision to hear the news, but it can also enable a non-disabled person do those things as well.
Three core principles of inclusive design
Recognise exclusion. Exclusion occurs when we use our own biases to solve problems. Inclusion requires us to consider the widest possible set of capabilities of the people who might be using a product or service.
Learn from diversity. In designing for people with disabilities, we must recognise that a key feature of their daily lives is adaptation. We’re not designing for limitations but rather for people who can adapt to new situations. In recognising this, we can unlock the true potential of the design for the people who it is intended to serve.
Solve for one, extend to many. Inclusive design focuses on what’s universally important to all people. If you create a solution that works well for someone who cannot hear, you might be surprised to find out that it also increases the productivity and improves the life of a person who can. A simple example might be a self-driving car: it enables a blind person to increase her or his mobility, but it would also likely be a safer and more convenient option for anyone else.
While WPP had yet another successful Cannes Lions Festival it was the announcement from the company to take on a series of initiatives designed to ensure it is playing its part in tackling pollution from single-use plastics by the end of the year demonstrated to me the company vision of a creative transformation company.
WPP will no longer buy or provide single-use plastics such as bottles, straws, cutlery, and cups in any of its 3,000-plus agency offices and campuses worldwide. And it will make it easier for people to recycle their own plastic materials at work.
WPP has also signed the New Plastics Economy Global Commitment, led jointly by UN Environment and the Ellen MacArthur Foundation, thereby endorsing the vision of a circular economy for plastic in which it is designed never to become waste or pollution. Other signatories include Colgate-Palmolive, Danone, Johnson & Johnson, Mars, Nestlé, PepsiCo, SC Johnson, The Coca-Cola Company and Unilever.
The company has also committed to working with partners and clients to inspire consumers to think differently about plastic packaging and change their behavior; create more sustainable approaches to product and packaging design, and develop new systems for delivering and recycling products.
Facebook is among the first partners to collaborate; the two companies are exploring ways to work together to harness their collective global reach to drive action among consumers.
The Cannes announcement follows a special internal WPP summit in May which brought together people from across the company’s agencies to discuss how to reduce the impact of plastic on the planet, from redesigning products, packaging and experiences to creating closed-loop systems and using communications to improve recycling rates.
It also builds on various existing initiatives within WPP agencies. To kick off the program, WPP will host a series of “Unpack the Problem” creative hackathons over the summer to develop actionable ideas that help tackle plastic pollution.
Mark Read, CEO of WPP, said: “Our industry has the tremendous collective power to bring about change for the better, but our efforts have to begin at home. Taking the plastic out of Wire & Plastic Products by phasing out single-use plastics in our offices is just the first step. People expect companies to act responsibly and help them live more sustainably, and our clients look to us to help them deliver brands with purpose. We look forward to working with partners across the industry and using our creativity, insight, and scale to make a difference.”
On the Cannes Advertising award front, the WPP agencies brought home more than 180 Lions, including five Grand Prix: Air Max Graffiti Stores by AKQA São Paulo for Nike; Keeping Fortnite Fresh by VMLY&R Kansas City for Wendy’s; The Tampon Book: A Book Against Tax Discrimination by Scholz & Friends Berlin for The Female Company; The Last Ever Issue by VMLY&R Warsaw for Gazeta.pl, Mastercard and BNP Paribas (a collaboration with Wavemaker that also won a Titanium); and Bluesman, again by AKQA São Paulo, for Baco Exu do Blues.
Notable Gold-winning work included campaigns for Burger King and Coca-Cola by Ogilvy’s DAVID Miami; Wunderman Thompson London’s The Not So Beautiful Game for the National Centre for Domestic Violence; and The People’s Seat for the UN from a WPP team led by Grey London with BCW, Finsbury, Kantar, MediaCom, Townhouse Productions and Wildfire all contributing.
The world’s first non-rectangular football field has been constructed in the community of khlong toei, a densely populated area of Bangkok, Thailand
The project, which includes a series of play areas, seeks to demonstrate that otherwise vacant asymmetrical spaces can be utilized for outdoor recreation.
The scheme has been developed by AP Thailand, in collaboration with CJ worx, who hope that the project will help enhance relationships among the people in the community. The ‘unusual football field’ is an unorthodox setting that redefines the boundaries of the traditional 105 by 68 meter rectangular football pitch.
The concept originated from an idea called “Think Space,” with the goal to transform a small and irregularly-shaped field into a practical football field that still allows fair play between teams. The idea questions the limits of space in order to illustrate our brand’s belief that “Space can change one’s life.”
The Unusual Football Field was developed in Khlong Toei community, a highly populated area in Bangkok which is believed to have no usable space left. However, in reality, there are numerous asymmetrical spaces scattered across this district.
AP Thailand decided to design a field for playing football, which is the most favorable sport in Thailand, in order to promote relationships among the people in the community. This unusual football field has proven that designing outside boundaries can help foster creativity used to develop these useful spaces.
The work was submitted in Cannes Advertising Festival thus year and Thailand won its first Grand Prix award ever. It won the Gran Prix in the design category.
“The vision to break the norm or what is possible with an abandoned space—it’s very clever,” said Sandra Planeta, Design Lions jury president and founder of Planeta Design in Sweden.
Planeta said she and the other jury members spent a great deal of time discussing the concept of design in the process of selecting the Grand Prix winner and really looked at the power that design has to influence culture. “The Unusual Football Field” was a perfect example, she said.
“We wanted to pick a piece that shows the best qualities of our category and what design can deliver,” Planeta added. “And that piece was touching so many points. It’s breaking the grid, it’s doing something unusual, it’s so smart, it’s simple, it’s human, it’s bold. It really contains all the ingredients we’re working with. All 20 of us [on the jury] want to go back home and create different football fields.”
Dentsu Inc announced today that Dentsu Group companies (Dentsu Inc., Dentsu Young & Rubicam (Tokyo), Drill (Tokyo), Dentsu Taiwan (Taipei), Taproot Dentsu (Mumbai), BWM Dentsu (Sydney, Melbourne), AC mcgarrybowen (Mexico City), Flock (Mexico City), NBS (Rio de Janeiro) and Dentsu Latin America (Sao Paulo)) were awarded a total of twenty-eight Lions (one Grand Prix, one Gold, seven Silver, nineteen Bronze) at the 64th Cannes Lions International Festival of Creativity (June 17-24), Lions Health Festival (June 17-18), Lions Innovation Festival (June19-20) and Lions Entertainment Festival (June 21-22 held in Cannes, France. This year saw a total number of 41,170 entries received from around 90 countries across the four festivals.
The Dentsu Group Grand Prix and Gold Lion winner was “The Family Way” for Recruit Lifestyle Co., Ltd in the Mobile category.
A little closer to home in Asia Pacific, Dentsu Brand Agencies with 7 Lions for Direct, Design, PR, Outdoor, Radio, Entertainment and Health & Wellness. The wins include 3 Silver and 4 Bronze Lions across 5 countries: Dentsu Brasil and Dentsu APAC offices – Taproot Dentsu Mumbai, BWM Dentsu Sydney, BWM Dentsu Melbourne, Dentsu Taiwan and Dentsu JaymeSyfu Philippines.
Taproot Dentsu Mumbai’s “Adidas Odds” won 2 Silver Lions, one for Direct, one for Design and a Bronze Lion for Health & Wellness. The work was also shortlisted for Titanium, Film, Promo & Activation and Health & Wellness.
BWM Dentsu Sydney’s “Premmie Proud” for BabyLove got a Silver Lion for PR.
BWM Dentsu Melbourne’s “Tailor Made Store” for Chadstone clinched a Bronze Lion for Outdoor/Ambient Experiential & Immersive Digital.
Dentsu Taiwan’s “Single Belief” for Glenlivet won the agency’s first Lion (Bronze) for Entertainment. This was a Grand Prix winner at AdFest.
Dentsu Brasil’s Speed – O – Track for Arteris won a Bronze Lion in Radio.
Since 1994, the Campaign Agency of the Year Awards is the Asia Pacific region’s most prestigious advertising industry awards, recognizing inspired leadership, management excellence, outstanding business performance and overall achievements in advertising and communications industry.
With results tabulated by PricewaterhouseCoopers (PwC) it is the only awards program that honors agency performance at both a local and regional level. This year’s Agency of the Year Awards judging panel included 93 client marketers from key business categories across Asia-Pacific, all of whom gave generously of their time and expertise to review and pick out the best amongst a record-high 955 contending creative and media agencies.
Dentsu Aegis Asia Pacific had it’s been showing last night since Dentsu Inc. acquired Aegis Group business in 2013.
Dentsu Aegis – South East Asia Campaign Agency of the Year 2016
Dentsu Brand Agencies new brand proposition of delivering Innovative Business Solutions created in 2016 certainly produced the goods. Brands in Southeast Asia did fabulously with Dentsu media Thailand scoring two Golds for both Creative and Media Agency of the Year and Dentsu Jayme Syfu winning a Gold for Philippines Creative Agency of the Year.
Stemmed from a spectrum of Dentsu’s numerous capabilities, the work produced across the region spans many different forms – from the creation of music to movies and the management of sports to events.
Driven by ideas, technology and a strong sense of entrepreneurship, Dentsu Brand Agencies has positioned itself this year as more than a creative agency – it is a creative leader providing a full suite of innovative business solutions beyond advertising.
Aligned to Dentsu Aegis Network’s overarching vision of ‘Innovating the way brands are built’, Dentsu Brand Agencies’ new brand proposition is set to move people to move businesses as we head into 2017.
Nick Waters, CEO of Dentsu Aegis Network APAC said; ‘This is a tremendous collection of awards, recognizing the strength and quality of our agencies and teams throughout Asia Pacific over the course of this year – many congratulations to all of the winners’.
The biggest win belongs to Isobar, who was awarded Digital Network of the Year for Asia Pacific, the brand’s fifth win within a span of six years. Awarded Gold in the Greater China region, Carat Hong Kong won Hong Kong Media Agency of the Year while Media Palette Taiwan was awarded the title Taiwan Digital Agency of the Year. Dentsu Aegis Network also emerged as Winner in the Greater China Digital Agency of the Year category.
Vizeum Malaysia took home the title of Malaysia Media Agency of the Year, and Dentsu Aegis Network Southeast Asia rounded the awards up by securing the title of Southeast Asia Creative Agency of the Year.
Our Dentsu Aegis leaders did tremendously well too: Ruth Stubbs, Global President of iProspect, and Ashish Bhasin, CEO of Dentsu Aegis Network South Asia, celebrated their second consecutive win as Digital Asia Pacific Agency Head of the Year and South Asia Agency Head of the Year respectively.
Sean O’Brien, CEO of Carat Asia Pacific, won Media Asia Pacific Agency Head of the Year for the second time (his first win was in 2012) while Chris Chen, CEO and Executive Creative Director of Trio Isobar China, won Greater China Agency Head of the Year.
Australia Media Agency of the Year: Bronze: Carat Australia
New Zealand Media Agency of the Year: Silver: Vizeum New Zealand
Australia Digital Agency of the Year: Bronze: Isobar Australia
Indonesia Creative Agency of the Year: Silver: Dentsu Indonesia
Philippines Creative Agency of the Year: Gold: Dentsu Jayme Syfu
Thailand Creative Agency of the Year: Gold: Dentsu Media Thailand
Vietnam Creative Agency of the Year: Silver: Dentsu One Vietnam
Southeast Asia Creative Agency of the Year Winner: Dentsu Aegis Network
Malaysia Media Agency of the Year: Gold: Vizeum Media Malaysia
Thailand Media Agency of the Year: Gold: Dentsu Media Thailand
Vietnam Media Agency of the Year: Silver: Dentsu Media Vietnam
Indonesia Digital Agency of the Year: Bronze: Dentsu Digital Indonesia
Malaysia Digital Agency of the Year: Gold: Isobar Malaysia
Philippines Digital Agency of the Year: Bronze: Dentsu Jayme Syfu
Singapore Digital Agency of the Year: Bronze: Isobar Singapore
Southeast Asia Integrated Agency of the Year: Bronze: Dentsu Media Thailand
Digital Network of the Year: Winner: Isobar Asia Pacific
Asia-Pacific Programmatic Agency of the Year (Sponsored by The Trade Desk): Silver: Amnet Asia Pacific
Asia-Pacific Agency Head of the Year (Media): Winner: Sean O’Brien | Carat Asia Pacific
Asia-Pacific Agency Head of the Year (Digital): Winner: Ruth Stubbs | iProspect Asia Pacific
Asia-Pacific Corporate Communications Team of the Year: Runner-up: Marketing and Communications Team Dentsu Aegis Network Asia Pacific
It’s been ten years since I have attended the International Festival of Creativity, the Cannes Lions Festival.
Somethings are exactly the the same. The abundance of awards, drinking, dinners, parties and the networking events held on large yachts.
Dentsu Group companies (Dentsu Inc., Carat (London), 360i (New York), Dentsu Young & Rubicam (Tokyo) and Drill (Tokyo)) were awarded a total of thirty-one Lions (one Grand Prix, one Gold, twelve Silver, sixteen Bronze and one Product Design) at the 63rd Cannes Lions International Festival of Creativity (June 18-25), Lions Health Festival (June 18-19), Lions Innovation Festival (June 21-22) and the inaugural Lions Entertainment Festival (June 23-24) held in Cannes, France.
The Dentsu Group Grand Prix Lion winner was “Life is electric” for Panasonic Corporation.
The insight for this work is very powerful. What if we could see electricity? It managed to use the power of design to change the perception of a product that has become a commodity, by bringing storytelling in—in every space. It creates a bridge between the digital tools and the analog world. A great piece of work.
Dentsu team with the Grand Prix Design Lion
Dentsu Inc: – Cannes Lions International Festival of Creativity
Cyber: Two Silver, one Bronze
Design: One Grand Prix, one Gold, six Silver, one Bronze
Direct: One Bronze
Film: One Silver
Film Craft: One Bronze
Media: One Silver, one Bronze
Mobile: One Silver, one Bronze
Outdoor: Three Bronze
PR: Two Bronze
Product Design: One Product Design
Lions Health Festival
Pharma: Three Bronze
Lions Innovation Festival
Creative Data: One Silver, two Bronze
The three minute award entry show reel continues to drive what entities are awarded and what isn’t.
If you can’t tell a three minute video led story on why your work should be awarded, you have no chance of finding a jury judge interested, no matter how effective your results were for your client.
What is very different for me is how much Cannes has turned into a tech show. A Consumer Electronics Show crossed with a watered down SXSW festival.
I remember ten years ago Microsoft just starting to make a presence on the ad scene. Now it’s all about the big showy setup from Google, Facebook and Twitter and a thousand other tech venders attending all shouting for attention. Advertising has certainly transformed from a festival celebrating print, radio and film to an event all about digital advertising tech led solutions.
So many talks seem to be about promoting tech and the benefits of big data, virtual reality and audience demand generation platforms rather than a celebration on how a big strategic and creative idea can deliver brand impact and business growth.
What has also changed is how separated the creative and media agencies are in operation, focus and collaboration with each other. Creative agencies are now creating ideas with a no canvas approach but it often does not support the media agencies approach to an endless amount of platforms both online and offline to push the message. Too often the creative idea is not made for the media channel to amplify.
This is very apparent at the Cannes event itself.
Advertising messages are planted everywhere. Sure it’s a ad event but the ads themselves are not for client brands but rather have been purchased by tech ad vender solutions.
This means all the outdoor advertising is very average creative work. It is a very polluted ad environment as no brand is making an impact on the audience. It would seem every iconic building in Cannes has some type of tech vender ad message screaming out for attention.
This to me is a miss opportunity. Cannes should be a celebration of beautiful brand client advertising rather than a place to showcase bad ad executions from partners and venders.
Sure I get the event is a money making exercise, but I find the work so bad and disturbing and such a missed opportunity to program the event as showcase for the power of great advertising to our clients.
While the event is held over seven days I think that is too long to hold people’s attention. You can feel very contraphopic within 24 hours of arriving as their are so many limited ad themes to speak about. There is so much overlapping talk on Big data, virtual reality, experience design being talked about without any real authority or case examples.
The event attempts to bring in other industries to pad out the ad talk. All the agencies tend to invite big name guests from the film, music and business industries to flesh out their points of view.
Over the last ten years I have elected to attend SXSW for my creative inspiration over Cannes, and I think based on this years experience it continues to be a wiser choice. There is much more diversity and authority in Austin over Cannes in how to grow brands and business using innovation.
As I was only six weeks into my new job as CDO in the Dentsu Aegis Network I found the timing of Cannes very convenient to meet up with colleagues from around the globe and receive a debrief on our network strategy and capabilities and our journey to 100% digital.
When not in meetings I attended the conference hall seeking out inspirational talks. One highlight was a conversation with Brian Eno and Dentsu Lab Tokyo on their project to explore whether machine intelligence (MI) can acquire the creativity that is innate to human beings. Brian hired Dentsu to work on his latest project called The Ship.
I have always had a man crush on Eno the musician, producer, visual artist, creative thinker. I remember when I first heard U2’s The Unforgettable Fire when I was about 15. I was so amazed with the abstract sound on that album. It was so different to U2’s previous albums like War. I remember reading the album credits and seeing for the first time the names Brian Eno, Producer and Daniel Lanois, Sound Engineer.
Eno changed how music was recorded. He mastered the multi track technique. His work with Roxy Music, David Bowie, Talking Heads, Ultravox were the soundtracks of my life. I studied in sound engineering and manipulation because of this man so it was great to meet him after the talk.