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LATE EDITION JUNE 20 / 2025

LIONS DAILY NEWS

S H E W R O T E A F E M I N I S T M A N I F E S T O U S I N G O N LY F O U R W O R D S .

GRAND PRIX FILM CORPORATE PURPOSE & SOCIAL RESPONSIBILITY

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LATE EDITION JUNE 20 / 2025

LIONS DAILY NEWS CANNES LIONS

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Publicis and Axa win with ‘Three Words’

Channel 4 and L’Oréal take Film Grands Prix

ONE OF Cannes Lions 2025’s outstanding campaigns has continued its run of success. Having already clinched the Grand Prix in Direct and Creative Business Transformation, Publicis Conseil and Axa have secured top prize in the prestigious Dan Wieden Titanium Lions for their game-changing ‘Three Words’.

As previously reported this week in the Lions Daily News, the campaign set out to provide a solution for women who are experiencing domestic abuse at home, but are unable to escape their circumstances. It was a timely initiative, with the number of domestic violence victims reported to police stations in France estimated to have doubled between 2016 and 2023, rising from 124,000 to more than 270,000.

At the heart of the campaign was Axa’s bold decision to rewrite its home-insurance policies so that instead of providing emergency relocation for victims of ‘fire and flood’ it extended to cover ‘fire, flood and domestic violence’. To raise awareness of this new support system, Axa and Publicis Conseil launched a major media campaign.

France has mandatory home-insurance contracts, so Axa’s decision had an immediate impact, with the new phrase being added to 2.5 million contracts (retroactively). Women who contact Axa get legal, financial and psychological support to help them relocate (with their children if necessary). They do not need to be named in the contract to benefit from support. A specialised unit has been created for securing safe and suitable accommodation and transportation.

The campaign led to an uplift of 9%

THE 2025 Cannes Lions Film Jury has chosen two inspirational pieces of work as its Grand Prix winners. They are ‘The Final Copy of Ilon Specht’ from L’Oréal Paris, and ‘Paris Paralympics 2024: Considering What?’ from Channel 4 UK. ‘The Final Copy of Ilon Specht’ is a 16-minute film by Ben Proudfoot that formed the centrepiece of a L’Oréal session at Cannes Lions 2024.

Delphine Viguier-Hovasse, global brand president L’Oréal, explained during the session why the brand had decided to make such a raw film about Ilon Specht, the woman who created the iconic ‘Worth It’ slogan. She said: “We wanted to claim back the purpose of our slogan. The risk was that it was becoming a mechanical claim at the end of advertising.”

‘Considering What?’, meanwhile, was Channel 4’s Paris 2024 Paralympic Games marketing campaign film, which set out to challenge patronising attitudes. Created by Channel 4’s multi-award-winning in-house agency, 4creative, the film asks the viewing public to reconsider their preconceptions of Paralympic greatness.

Lynsey Atkin, executive creative director, 4creative, said: “Gravity. Friction.

Time. The unchangeable forces of our world dictate what it means to be the best on the pitch, in the pool, on the court, on the track. They offer no head starts, no free passes, no patronising pat on the head and another go around.

Excellence is excellent, no caveats.”

The Film Lions celebrate the creativity of the moving image. The work needs to demonstrate brilliant brand storytelling intended for a screen;

INSIDE:

Jury President, Judy John

in Axa home-insurance contracts, and the brand is now exploring expansion into other territories.

The Titanium Jury looks for work that redefines the creative landscape.

Ahead of Cannes Lions, Jury President Judy John, global chief creative officer, Edelman, Global said she was “The Titanium Lions represents the power of creativity to challenge the status quo, spark progress and inspire what’s possible.”

In addition, there were Titanium Lions for two of this week’s other big winners, ‘Vaseline Verified’ and ‘Caption With Intention’. ‘Pedigree Caramelo’, from AlmapBBDO Brazil, also secured a Titanium Lion — rounding out the 2025 cohort of winners.

FRIDAY’S WINNERS Film, Glass:The Lion For Good, Sustainable Development Goals and Dan Wieden Titanium

Jury President, Kate Stanners

filmed content created for TV, cinema, online and out-of-home experiences. This year’s Jury President was Kate Stanners, chairwoman and global chief creative officer, Saatchi & Saatchi, Global. Ahead of judging she said that film is the “perfect intersection of idea and craft. It is incredible how you can start watching something that feels relatively ordinary, and it can draw you in with the directing, the writing, the performance, the sound, the editing — and suddenly good is great.”

The Jury also awarded eight Gold Lions to films from Australia (2), the US (2), France (2), the UK and South Africa.

YOUNG LIONS COMPETITIONS Aspiring young creatives wait to hear if their live work has won in Cannes

PETER JACKSON ‘Technology can bring your dreams to life’

THE BRUTALIST’S BRADY CORBET Pessimistic about the present, optimistic about the future

MEDIA PERSON OF THE YEAR Amazon’s Andy Jassy: ‘If you want to move fast, you can’

NEWS

Ogilvy adds Glass to Dove’s trophies THE GRAND Prix for Glass: The Lion for Change has gone to Ogilvy UK for Dove’s ‘Real B e a u t y, How a S o a p B ra n d Created a Global Self-esteem Movement’.

It’s the second Grand Prix for the ‘self-esteem’ entry, which won the top Creative Strategy accolade. Dove, Ogilvy New York and Pinterest also took home the Media Grand Prix for the ‘Real Beauty Redefined for the AI Era’ campaign.

Launched in 2005, the Real Beauty campaign was triggered by the shocking insight that just 2% of women see themselves as beautiful. In the two decades

since, the brand has worked relentlessly to change attitudes to beauty, by centring it on self-confidence and self-esteem rather than manufactured media expectations.

While the campaign is often praised for its purpose-led creativity, its investment in redefining beauty standards has also had a dramatic impact on the Dove brand. Today it is a $7.5bn enterprise active across 10 product categories.

Out of a record-breaking total of 251 Glass entries (up 53%), eight were awarded Lions. The only Gold went to art lifestyle brand Heralbony, from Iwate

Jury President KR Liu

‘Investment in redefining beauty standards had a dramatic impact on the Dove brand’

Natura takes the SDG Grand Prix THE WINNER of the Sustainable Development Goals Grand Prix for 2025 is ‘The Amazon Greenventory’, entered by Africa Creative DDB, São Paulo, on behalf of Natura.

The SDG Lions celebrate creative problem-solving, solutions or other initiatives that harness creativity and seek to have a positive impact on the world. ‘The Amazon Greenventory’ is a perfect example. It is an ambitious attempt to list the trees of the Amazon — as a way to preserve this vital natural ecosystem.

Natura said: “When it comes to profiting from the Amazon, a com-

mon misconception exists, that the only way to make money is through deforestation. For over 20 years, however, Natura has partnered with Amazon communities to foster sustainable practices.

This raised an important question, can we do even more?”

The answer, it transpires, is yes — which is how the Greenventory was born: “We developed an innovative project that harnesses the power of AI to revolutionise how we understand and preserve the Amazon’s biodiversity. By equipping high-tech drones with data on key tree species used in cosmetics, Natura can identify trees based on

Jury President Josy Paul

‘An innovative project that harnesses the power of AI’

prefecture in Japan.

KR Liu, global head of disability innovation, Google, an advocate for inclusion and innovation, was Jury President of Glass this year. Ahead of judging, she said that she would be looking for work that is “built to last”.

size and canopy characteristics.

Local communities are now receiving this information to strengthen their regenerative economies and traditional practices”.

The Jury President of the SDG Lions this year was Josy Paul, chairperson and chief creative officer, BBDO, India.

Speaking ahead of Cannes Lions Paul said: “The SDG category truly has the power to influence, rearrange and impact the world.

I’m looking for revelations, work that uncovers something hidden and brings it to light. Every year, there’s one piece of work that hits you sideways and reignites your belief in the power of ideas. I’ll be hunting for that work, that moment.”

The SDG Jury also awarded four Golds to Brazil, the UAE, Denmark and the Ukraine.

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NEWS

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‘I don’t know any weak women’

COLLABORATION has been key to the first 20 years of Shonda Rhimes’ Shondaland production company, whose TV hits have ranged from Grey’s Anatomy and Scandal to Bridgerton.

“It feels to me a very arrogant thing to think that I have all the ideas and nobody else has any. I like to work with people who argue with me; who think differently than me,” Rhimes said in her packed Cannes Lions session yesterday, Lessons From Shondaland: Say ‘Yes’ To Brave Storytelling.

This extends to the actors she works with. “I always say a character is like a balloon,” she said. “I create a flat balloon, but then an actor comes in and their personality and talent fill that balloon up and allow it to float. It’s really important who we cast… and we have a ‘no assholes’ policy!”

Rhimes talked about the narrative heart of Netflix hit Bridgerton, with its focus on marital matters in Regency England: “These were women who had absolutely no power in their world and so the only way that they could gain power was by who they married. So, by default, the marriage market was their workplace. Bridgerton is a workplace drama! These are women who are trying to find power…”

“They’re strong women. You like strong women!” said moderator Mark Read, CEO of WPP, eliciting a raised eyebrow from Rhimes.

“I don’t know any weak women!” she replied, to loud applause from the audience.

Rhimes also looked to the future of Shondaland. “Making a show — doing any kind of storytelling — is literally a campfire,” she said.

“You want to light your campfire and have people want to come and listen to the story told around it. So now I’m trying to ideate: what are the new campfires? Where should they be burning? How do we want them to be burning? Who do we want to be hearing those stories and who’s not being allowed to tell those stories right now?”

She concluded: “We never want to stand still. For me, we’re not trying to keep up with culture. We’re trying to make culture. We’ve been doing that for a long time and we really appreciate that opportunity.”

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NEWS

Lions summit gets creators and educators face-to-face ONE OF the most intriguing additions to Cannes Lions 2025 is the LIONS Educator Summit 2025, launched to cement the Festival’s role as a dynamic bridge between education and the creative industries. Led by Dr Vann Graves, the 2025 Summit features seven high-impact sessions covering topics including curriculum design, AI in education, talent development and the evolving demands of the creative workforce.

Graves is executive director of the Brandcenter at Virginia C o m m o nwe a l t h Un i ve r s i t y (VCU) in the US. Previously a practitioner in the industry, he has won 19 Lions and spent the last three years as Dean of the LIONS Creative Academy. Speaking to the Lions

Daily News, he said: “Prior to COVID, Cannes Lions had a kind of educator programme.

After I finished as Dean of the Creative Academy, I spoke to Cannes Lions head of learning, Steve Latham, and we decided to rebuild it from scratch.”

In its new incarnation the programme brings together global academic leaders and industry experts to equip educators with the insights, tools and connections needed to support the next generation of creative talent.

“The Summit is not about talking at educators, but creating bespoke community and conversation,” Graves said. “Every session has an educator on the panel, so we get the right conversational balance.”

The beauty of hosting the event

at Cannes Lions is that it has a strong international flavour: “There are 44 participants this year from all around the world,” Graves said. “That creates an opportunity for us all to look at how we’re dealing with issues like AI and inclusion. That’s really beneficial because academics often work in silos.”

One theme to emerge from the Summit is how much work educators need to do around socalled soft skills. “For example,” Graves said, “how do we prepare students in a post-COVID world where they’re more sensitive?

One shift is that this generation is online so much more that they don’t engage in the same way.

We need to help them be more curious, so they are prepared when they get into the industry.”

The Young Lions at work ahead of the competition’s final judgement

THE YOUNG Lions Competitions celebrate creativity across the world and are an arena where young professionals can showcase their talent and achievements.

This year marks the event’s 30th anniversary. Close to 460 competitors took part, from 67 nations, including returning countries Venezuela, Uruguay and Ukraine.

Seven competitions ran over four days, with the work being judged by the Cannes Lions shortlisting Jury and other industry leaders. Today, the winners are being honoured with a public awards ceremony.

The Competitions are staged in partnership with Adobe, as well as The News Movement. EY sponsored this year’s Digital competition.

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Dr Vann Graves

NEWS

Corbet on a quest to make

world ‘better than I found it’ BRADY Corbet inhabits a space at the intersection of culture and commerce.

On the one hand, he is one of the most awarded and applauded filmmakers of his generation — his latest threeand-a-half-hour epic, the audacious immigrant drama The Brutalist, has won multiple awards and nominations.

Now, through his recent partnership with Magna Studios, he has added commercials directing to his résumé, starting with three high-profile spots for Bloomberg Media’s Context Changes Everything brand platform.

“I’ve been trying to work in advertising for quite a long time, but strangely it can be very difficult for a feature-film director to break into commercials,” he told Bloomberg Businessweek’s Brad Stone at yesterday’s session, Art, Commerce and The New Rules of Filmmaking. “And that goes both directions. I know a lot of fantastic advertising directors who’ve had a hard time getting their first movies off the ground.

They’re just very different worlds.”

Filmmaker and director Brady Corbet

One difference is that Corbet’s feature-film projects are “self-generated” and reflect his own vision and passions. “But when I’m working with a brand, I’m providing a service. It’s my area of expertise but it’s their brand and their passion and what they devote their lives to. I find that very easy to honour and respect, because I genuinely do respect it. I’m not the sort of filmmaker that shows up, shoots something, collects a paycheck and disappears. And I’m not interested in working with anyone who wants to work that way.”

Corbet also has no interest in making well-paid studio movies, despite the financial precariousness that’s implicit in indie filmmaking. Indeed, he recently made headlines by claiming that, despite being one of the most acclaimed films of the last year, The Brutalist had made him “zero dollars”.

“I think I feel a responsibility to contribute something of cultural value,” he added. “I’m not saying I’m always successful, but that should sort of be the ambition. I have a 10-year-old daughter and I’d love her to inherit a world that’s better than I found it.

So far, I think it’s been a rough start to the 21st century. And so I’m optimistic about the future because I’m so pessimistic about the present.”

The Chocolate Guy hits the sweet spot WORLD-renowned pastry chef Amaury Guichon — otherwise known as The Chocolate Guy — joined Meta’s head of global business group Nicola Mendelsohn yesterday on the Debussy stage to talk about the role that social media, brands and chocolate have played in Guichon’s rise to international fame. With 17 million viewers on Instagram and 18 million on Facebook, Guichon’s stunning showpieces created entirely out of chocolate have had more than a billion views across social media.

“I’m very disciplined in my work,” he said. “It’s very important to me to bring originality every time.

I thought at some point people would get over watching my content because, when you’ve

seen chocolate transformed into various things, after a while you know how it’s done. But people still love it. And in order to respect that, I’m always trying to find a mesmerising way to capture what I do and bring fun things into my work.”

Guichon set a Guinness World Record by sculpting a 66-inch banana from chocolate at his Pastry Academy in Las Vegas.

Guichon has had a number of brand partnerships, including alliances with Karl Lagerfeld, the Willy Wonka movie and Essence Cosmetics. His advice for potential brand collaborators? “I think you have to pick your creator very carefully, knowing that it aligns with your vision of your campaign or your brand value. But then,

Chef Amaury Guichon with Meta’s Nicola Mendelsohn

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once you’ve picked your creator, you have to give the person freedom and trust, because only we know how to relate and connect with our audience base.”

To round off the session, Guichon revealed another incredible creation — a chocolate Cannes Lion award. And for the final course, the entire audience not only got to see how it was made, but got to taste it as well.

NEWS

Jassy: If you don’t keep learning — you’re unwinding AMAZON CEO Andy Jassy came to Cannes Lions to pick up an honorary Media Person of the Year award — and as a quid pro quo he shared a slew of thought-provoking leadership insights for delegates looking to build their own $2trn company.

Questioned by P&G chief brand officer Marc Pritchard, Jassy said AI is “for sure the most transformative of technologies since the cloud and probably since the internet. It’s going to change every customer experience. It’s going to change the way we live.

It’s going to change the way we work. If your mission is to make customers’ lives easier and better every day, which is ours, you can’t help but invest expansively in AI.” After reeling off dozens of use cases

within Amazon’s hydra-headed business, Jassy told delegates that “anybody who’s not thinking that AI is going to change their business and how they operate … I would advise them to look again.”

Part of the session focused on how Amazon has built a business that encompasses commerce, media, advertising, web services and robotics — among other things. Jassy said the company’s hit rate was partly about the people it hires and partly about the way it interrogates new business opportunities: “We always start by asking ‘what’s the problem we’re trying to solve?’.” After this there are several core questions: “If we’re successful in what we’re thinking of doing, would it move the needle? Is it being well served today? Do we have a differenti-

Andy Jassy

ated approach? Finally, do we have competence in it? If not, can we acquire it quickly? If we like the answers, we pursue it.”

Of course, a key challenge for Jassy these days is ensuring Amazon doesn’t take its foot off the gas.

Here he emphasises the importance of employing scrappy teams, rooting out bureaucracy, always asking why, taking risks and ensuring speed remains part of the company culture. “A lot of times

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big companies convince themselves that it’s hard to move fast because they have a lot of processes, security issues, clients and so on. But speed is a leadership decision. If you want to move fast, you can.”

At a personal level, Jassy also said it is crucial for leaders to keep learning. “At a certain point some people just feel like they don’t need to learn as much anymore. But the second you do that, for whatever reason, you’re unwinding.”

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‘I love how technology can bring your dreams to life’ LORD OF The Rings director Sir Peter Jackson created lost worlds with his imagination and a little bit of help from technology. Colossal Biosciences’ Ben Lamm is using science to bring long-lost creatures — dire wolves, woolly mice and mammoths, dodos — back to life.

Both men also share an ability to run towards risk, embrace new technology and find the positive in the negative, as was revealed at a blockbuster Cannes Lions session from DDB Worldwide, From Middle-earth To Rebirth: The Next Revoluton Is IRL. Jackson famously shot his three Tolkien films simultaneously in his native New Zealand — a decision that was viewed by Hollywood as an insanely dangerous gamble. The damaging speculation around the project reached such a point that New Line Cinema founder Bob Shaye decided to screen 25 minutes of the Fellowship Of The Ring at the 2001 Cannes Film Festival, in an effort to reverse the negativity before the movie premiered.

“Looking back on it now, I’m aware of what sort of gamble it was,” Jackson said, adding that, had the movie gone down badly, it would have been the end of Middle-earth. “But there’s a New Zealand expression, which is ‘If you’re going to eat shit, you may as well have it on a sandwich.’ So Bob rolled the dice — and it worked out incredibly well. We got a standing ovation and nothing but excitement and positive press after that.”

Excitement barely does justice to the reaction that Colossal provoked when it announced to the world that it had re-created a huge Pleistocene dire wolf. The story generated 28,000 stories and 390 billion media impressions in the first week, along with a 68% positive approval rating. “Time said that we drove more traffic to time.com in one day than they’d had in two and half years,” Lamm said. “But it wasn’t all positive. Turns out that de-extinction is moderately controversial and so is genetic engineering, apparently. But 68% positive of 390 billion is an insane number. It’s a cultural movement.”

Both Jackson and Lamm are optimistic about technology and its power to deliver progress. Jackson confessed that, while he’s always “loved how technology can bring your dreams to life”, he can’t actually use a computer. “I get other people to do it. I can do emails but I’m an absolute nobber when it comes to anything computery.”

“We can’t be fearful of technology,” Lamm said. “We have to embrace it — it’s the only way we’re going to innovate past some of the challenges we have as a society. They’ll always be bad actors and people doing weird stuff with technology. But a risk-averse attitude didn’t put people on the moon.”

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LONG TAIL LION

Making the case for a long-tail Lion SME advertisers are emerging as a major source of revenue for the ad economy. Is it time they had their own Lion?

By James Swift, editor, MediaCat UK IT’S HIGH time the ad industry acknowledged the barbarians* at its gate and gave small businesses their own category at Cannes Lions.

GroupM estimated that global ad spend surpassed $1trn for the first time in 2024, and I think we know big brands weren’t the ones driving growth.

There is no research — at least, not that I’ve seen — that breaks down global marketing spend by size of advertiser, but you can glean what’s going on well enough from other data points.

One indicator is that advertising investment is increasingly out of whack with GDP. These two metrics used to move in sync, but in the UK in 2024, UK ad spend increased 7.6% in real terms, far in excess of the country’s 1.1% economic growth.

Thinkbox’s head of research, Anthony Jones, points out that these benchmarks have untethered because of the outsized influence of search and social media advertising. Small-and-medium-sized enterprises (SMEs) treat these channels as online rent that must be paid, as opposed to tools they can use to create or harvest demand, and consequently, advertising investment figures tell us increasingly little about companies’ performance or their confidence in the economy.

But for the sake of argument, let’s say Jones is talking mince, and it’s something else weakening the once-strong correlation between ad spend and GDP. We still know for sure that advertising investment has been disproportionately driven by search and social media, and both of those channels are distinguished by a long tail of small advertisers.

“One of the main reasons Google and Meta now own circa 50% of all digital ad spend is simple — they removed all

the friction for SME advertisers,” wrote Shane O Leary, a marketing director at Zoetis, on LinkedIn earlier this year.

“The most transformative thing these platforms did was to create intuitive, easy to use, self-serve platforms meaning any advertiser could plug in their credit card and be ready to spend in minutes.”

Broadcasters now, too, have cottoned on that a long-tail of small advertisers is about the best thing that can happen to a media owner, offering insulation from downturns and (should they need it) boycotts, as well opening up an entirely new revenue stream.

At the Advertising Association’s Lead conference in London in February, ITV’s managing director, Kelly Williams, told the audience that the “fat end of the long tail” (meaning the largest of the small businesses) represented broadcasters’ most lucrative opportunity.

In a bid to attract that fat end of the long tail, ITV last year put together an AI ad production service, targeting small brands that want to graduate from search and social advertising to TV but don’t have the budget for a proper shoot.

For the same reason, Comcast (US) announced that it had built a self-service platform, called Universal Ads. If broadcasters can entice small advertisers, the main argument for ignoring what is rapidly becoming the growth engine of the ad economy — that their activity amounts to little more than petty digital shelf wobbling, which has no place at the International Festival of Creativity — starts to lose clout.

Opening up Cannes Lions to SMEs presents some organisational challenges, of course. Defining SME is the first one. Governments often use employee

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numbers, but WhatsApp only had 55 employees when it sold for $19bn, so using headcount would probably result in some absurd disparities. It’s probably not realistic to expect SMEs to fly en masse to the Riviera, either. In fact, expecting them to shell out more than a peppercorn sum to enter the awards would be a big ask. The organisers might even want to consider substituting the Lion trophy for a cash prize in this category.

The vast majority of what we know about consumer behaviour and effective marketing comes from data from large organisations. One of the criticisms levied by Oxford University marketing professor Felipe Thomaz against the laws of growth described in ‘How Brands Grow’ is that they only apply to brands that are already big (and operating in a static market). Similarly, ‘The Long and the Short of It’ was written using case studies from the IPA’s Effectiveness Awards, and I’d hazard that there weren’t a lot of SMEs in that data bank, either.

A well-stocked repository of effective campaigns from SMEs could yield all sorts of new insights and revelations about how people buy and how marketing works.

I’m not suggesting that the advent of self-serve TV advertising will mean that Sparshatts Of Swanwick will start producing films at the level of Honda’s ‘Cog’, or that Polhil Garden Centre is going to come up with a strategy as rigorous as Snickers’ ‘You’re Not You When You’re Hungry’. (Although, the reaction to a John Lewis-esque Christmas ad put out by a small pub in Enniskillen in 2023 suggests you shouldn’t rule out the prospect entirely.)

But you should never underestimate the invention that can spring from the lower leagues and even the amateur ranks of an industry. Just look at how many publishers today take inspiration from the formats and language that emerged out of the blogosphere or on social media.

That’s not to denigrate multinational marketers or the creatives and strategists who dedicated themselves to their craft. If anything, this industry needs more professional standards, not fewer. It’s just that being a part of a large organisation and dealing with substantial budgets usually engenders caution, process, and adherence to established precedents and ways of working.

SME advertisers are free to experiment in ways that big brands and agencies can’t, and probably shouldn’t because they don’t make sense based on what we already know about how advertising works.

Granted, a lot of those marketing experiments

by SMEs will fail, but a fraction of them will perform better than anyone would have expected, for reasons that we don’t yet understand, and these could point the way to new, more effective ways of working.

So, broaden the church of Cannes Lions and welcome SME advertisers. The industry has nothing to fear but potentially lots to learn. *Metaphorical barbarians, of course. Some of my best friends are small-business owners.

Fast, funny, fearless: the wonder of Thai creativity

The Lotto Movie Posters

The creative dynamo that is the Thai ad industry, deconstructed by Pert Pongpiti Phasukyud, founder and CEO of AD ADDICT Global

MENTION Thai advertising to any creative at Cannes and the first thing you’ll probably hear is: “Oh, I love those emotional films!” or “Thai ads are so funny!” That’s fair. We’ve carved out a global reputation with heart-wrenching insurance ads, hilarious fast-food campaigns and drama-laced storytelling that’s earned us a seat at the awards table — Cannes Lions included. But what if I told you that’s just the surface?

As someone who lives and breathes Thai creativity every single day through Ad Addict, I can say with full confidence: there’s a whole other world of Thai creative energy you’ve never seen — and it’s time the world knew.

We don’t just make great films. We make chaos make sense. We turn memes into mass media. We craft campaigns out of superstition, fandoms and inside jokes. We’re scrappy, soulful and a little bit surreal — and that’s exactly what makes Thai-style creativity so powerful.

So buckle up. Let’s explore the seven wonders of Thai creativity you might not know — but absolutely should.

One: Meme creation is in our blood In Thailand, we don’t wait for quarterly briefs. We move with culture — or sometimes faster than it.

When something trends — whether it’s a celebrity scandal, viral meme or political moment — Thai creatives are already turning it into branded content within hours. But this isn’t random. It’s a reflex. Thai brands are especially fluent in the art of parody — we’ve seen Oscar-winning movie posters flipped into supermarket promos and global red-carpet moments turned into steak ads. The speed, humour and cultural fluency of Thai real-time marketing isn’t just impressive — it’s world-class.

But we’re not only fast. We’re also fearless enough to create trends, not just follow them. Take Burger King Thailand’s ‘Real Cheeseburger’ — 20 slices of unmelted American cheese, no patty, no sauce. What started as

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‘When something trends Thai creatives are turning it into branded content within hours’

a hyper-local launch became a global phenomenon within hours. It trended in over 30 countries, flooded TikTok feeds, sparked memes, reviews and headlines from CNN to the New York Times. The internet didn’t just react — it exploded. That’s not trendjacking.

That’s trend-making.

THAILAND

Burger King Thailand’s Real Cheesburger

Nestle Music Marketing

promotional media. Objects usually associated with merit-making were reimagined as unsettling storytelling tools. It blurred the line between belief and branding in a way only Thai culture could inspire.

That’s the magic of the media here. It’s not just about reach. It’s about resonance. Thai creatives don’t interrupt daily life — they embed themselves inside it, with ideas that feel natural, clever and deeply local.

In Thailand, a good idea doesn’t need a screen — it just needs the right context.

Four: Thai food goes everywhere.

Everyone knows Thai food is world-famous.

But in Thailand, we don’t just serve it — we turn it into creative fuel. myOne Mango Condom

Burger King Thailand’s ‘Real Cheesburger’

Two: Our ads drop like pop hits.

In most places, music is just a soundtrack to the story. In Thailand, music is the story.

Before TikTok made everything singable, Thai ads were already dropping tracks people couldn’t get out of their heads. Not jingles — hits.

The kind of songs that took over street food stalls, karaoke rooms and kids’ school performances. These tunes didn’t just sell products — they became part of daily life.

Here, we don’t write ‘ads with music’.

We craft campaigns like we’re launching a new single.

A song isn’t the cherry on top — it’s the entire campaign. Whether it’s a soft ballad for a finance app or a catchy anthem for a five-baht soyamilk drink, our ads sound like pop culture because they are pop culture.

In Thailand, when we launch a campaign, we don’t ask “Will they hear it?” — we ask “Will they sing it?”

Three: Thai-style wild placement.

In Thailand, media isn’t just bought — it’s found.

Here, creativity doesn’t stop at screens or billboards. Thai brands find ways to speak to people through the objects, rituals and places that shape their daily lives. From Tuk-Tuk to temple fairs, even a humble lottery ticket can become a storytelling platform — literally.

One brilliant example? The ‘Lotto Movie Posters’ campaign — where brands turned the unused white space on lottery printouts into full-blown illustrated movie posters. Not only did it create buzz, but it brought art and advertising to a medium people already engage with — emotionally and superstitiously. It was bold, unexpected, and so Thai.

And more recently, Netflix’s Sathu: The Believers took that thinking even further — turning monks offering sets and roadside temple signs into

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To us, food is more than flavour. It’s emotional shorthand, cultural pride and sometimes… pure creative chaos. That’s why you’ll find products like mango sticky rice– scented condoms that went viral across Asia, or bags shaped like Thai desserts, handmade by local creators who blur the line between snack and statement piece.

And no — these aren’t just some joke ideas.

They’re real products that sparked headlines, selfies and thousands of shares.

Because when Thai creatives work with food, the goal isn’t just to make you hungry — it’s to make you look twice, smile wide and say: “Only in Thailand.”

Moo Deng, influencer

Tinder Muketing

Seven: Events? More like experiential theatre.

In Thailand, a campaign doesn’t stop at the screen — it expands into the real world.

We don’t just think in formats. We think in locations — and how to completely transform them. A street corner becomes an emotional experience. A mall becomes a mythical world.

A food court becomes a cinematic restaurant.

At Seacon Square, we’ve seen entire shopping centres reinvented as countryside farms, giant mazes, Jurassic jungles, haunted villages and even Noah’s Ark — all crafted by Thai creatives who don’t just build events. They build worlds.

And who could forget AP Thailand’s ‘Unusual Football Fields’, where unused corners of dense neighbourhoods were reshaped into play spaces for real kids — proving that with the right creative thinking, even oddly shaped rooftops can become fields of dreams.

This isn’t just activation. It’s architectural storytelling. The Seven Wonders of Thai Creativity aren’t a formula. They’re a feeling. A rhythm.

Seacon Square, Bangkok

Five: Influencers, but not always human.

In Thailand, influencer culture goes beyond beauty gurus and celebrities.

Sometimes, the biggest stars come from a zoo or a dessert shop.

Take Moo Deng, the baby pygmy hippo born at Khao Kheow Open Zoo. She became an internet sensation almost overnight — but not just because she’s adorable. Moo Deng was officially named a brand presenter for major companies, appearing in campaigns that were shared across the country and beyond. Her fame didn’t stop at social media — she moved products, boosted awareness and made audiences smile.

That’s the influence.

Then there’s Butterbear, the nowiconic mascot of a Bangkok dessert shop. With dance covers, merch, themed cafés and a fanbase of young Thais (and tourists) lining up to visit. Butterbear became more than a brand character — she became a phenomenon. From in-store storytelling to nationwide collabs, this little bear showed how a lovable personality

can turn a bakery into a movement.

These aren’t gimmicks. They’re proof that in Thailand, a lovable personality can carry a campaign just as powerfully as any human celeb — sometimes more.

Six: When belief meets marketing.

In Thailand, belief isn’t separate from everyday life — it shapes it. And smart brands don’t just acknowledge that — they create with it.

We even came up with a word for it: Muketing — a mix of mutelu (spiritual belief ) and marketing. And it’s become a uniquely Thai strategy.

Brands here tap into rituals and belief systems with surprising creativity: launching products in lucky colours, printing sacred yantras on packaging, designing astrology-themed campaigns — even collaborating with spiritual icons. Tinder, one of the most famous dating apps, once teamed up with Phra Trimurti, the god of love (located at CentralWorld Department Store), to create an event that offers spiritual blessings for better matches. Only in Thailand.

Because when belief meets branding here, it doesn’t feel like a gimmick — it feels real.

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A way of seeing the world that’s impossible to replicate — and unforgettable once felt.

Because here, creativity isn’t reserved for agencies or awards season. It lives in the streets, the jokes, the superstitions. In the way we remix tradition, bend formats and blur the lines between culture and commerce. It moves fast, but it moves with heart.

It can be loud, absurd, sentimental — sometimes all at once. And while it might not always follow the rules, it always finds its way into people’s hearts.

What makes Thai creativity so special isn’t just how we craft — but how we connect.

Not just with audiences, but with moments.

Emotions. Truths that are deeply local, and somehow still globally felt.

So if you’ve only seen the films, the reels, the trophies — you’ve only seen the front cover.

Because in Thailand, creativity spills beyond the screen. And the best way to understand it?

Don’t just study it. Step into it.

At Ad Addict Global, we’re here to open that door — to bring the pulse of Thai creativity to the world, and to help the world feel how wildly wonderful it can be.

So come closer. You might not understand it all.

But you’ll never forget how it makes you feel.

Grands Prix Film

PARIS PARALYMPICS 2024: CONSIDERING WHAT? CHANNEL 4 CHANNEL 4 LONDON UNITED KINGDOM

THE FINAL COPY OF ILON SPECHT L’ORÉAL PARIS MCCANN, PARIS FRANCE

FILM

CLASSIC TRACK WINNERS FILM

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B07/023 • FRANCE • NFPO / CHARITY / GOVERNMENT

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F03/020 • AUSTRALIA •

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SINGLE-MARKET CAMPAIGN

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IDEA CREATION • WIEDEN+KENNEDY, PORTLAND / JORDAN BRAND, BEAVERTON PRODUCTION • IMPERIAL WOODPECKER, NEW YORK / SATIS&FY, HILLSBORO / BAUIE PRODUCTIONS, LOS ANGELES / DRONE DUDES, GRANADA HILLS MEDIA • WIEDEN+KENNEDY, PORTLAND PR • JORDAN BRAND, BEAVERTON

CLASSIC TRACK WINNERS FILM

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A03/033 • ARGENTINA •

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AUTOMOTIVE

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A01/070 • UNITED STATES •

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CONSUMER GOODS

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B01/023 • UNITED STATES •

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B01/035 • GERMANY • CONSUMER GOODS TITLE • 100 YEARS OF MEISTERSTÜCK, MONTBLANC X WES ANDERSON

CLASSIC TRACK WINNERS FILM

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CULVER CITY / SOUNDTREE, LOS ANGELES / ARC CREATIVE STUDIO, AURORA

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C01/025 • AUSTRALIA • VIRAL FILM TITLE • THE COMMENTS SECTION

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VIRAL FILM

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CONSUMER GOODS

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TV/CINEMA FILM

MEDIA/ENTERTAINMENT

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B07/059 • CANADA •

E02/004 • CANADA •

NFPO / CHARITY / GOVERNMENT

ONLINE & VIRAL FILM

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ENTERED BY • FCB TORONTO

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IDEA CREATION • FCB TORONTO

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PRODUCTION • MAGMA, SAO PAULO

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POST PRODUCTION • JAMUTE, SAO PAULO

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A04/038 • UNITED STATES • TRAVEL, LEISURE, RETAIL, RESTAURANT TITLE • CENTURY OF CRAVINGS BRAND • UBER EATS PRODUCT • UBER EATS ENTERED BY • SPECIAL, LOS ANGELES IDEA CREATION • SPECIAL, LOS ANGELES / UBER, SAN FRANCISCO PRODUCTION • O POSITIVE, SANTA MONICA MEDIA • PHD, NEW YORK POST PRODUCTION • EXILE, SANTA MONICA / PARIAH CREATIVE, SANTA MONICA / THE TRAFIK, SANTA MONICA / ELEVEN SOUND, LOS ANGELES

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CLASSIC TRACK WINNERS FILM

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A06/053 • FRANCE •

B01/013 • SPAIN •

CONSUMER SERVICES / B2B

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CLASSIC TRACK WINNERS FILM

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F02/001 • PHILIPPINES •

BRAND • SECOND NURTURE PRODUCT • CHARITY

CHALLENGER BRAND

ENTERED BY • KLICK HEALTH, TORONTO

TITLE • STEAL

IDEA CREATION • KLICK HEALTH, TORONTO

BRAND • MANDAUE FOAM HOME STORE

PRODUCTION • ZOMBIE STUDIO, SAO PAULO / JAMUTE, SAO PAULO

PRODUCT • MANDAUE FOAM HOME STORE ENTERED BY • GIGIL, MANILA IDEA CREATION • GIGIL, MANILA PRODUCTION • ARCADE FILM FACTORY, MAKATI POST PRODUCTION • ARCADE FILM FACTORY, MAKATI / HIT PRODUCTIONS, MAKATI / BAREBONES, MAKATI

F04/100 • UNITED ARAB EMIRATES • SOCIAL BEHAVIOUR TITLE • READ BETTER BRAND • WATERSTONES PRODUCT • BOOKS

TITLE • IRMELA VS. NAZIS

ENTERED BY • FP7 MCCANN, DUBAI

BRAND • TOOM DIY MARKET

F03/018 • PHILIPPINES •

PRODUCT • TOOM PRODUCTS

SINGLE-MARKET CAMPAIGN

IDEA CREATION • FP7 MCCANN, DUBAI / MCCANN, BRISTOL

ENTERED BY • SCHOLZ & FRIENDS, BERLIN

TITLE • MIRACLE

PRODUCTION • VOX HAUS, PETROPOLIS

17

CLASSIC TRACK WINNERS FILM

MEDIA • UM, BIRMINGHAM PR • MARKETTIERS, LONDON

F05/044 • AUSTRALIA • USE OF HUMOUR TITLE • TELSTRA - BETTER ON A BETTER NETWORK BRAND • TELSTRA PRODUCT • TELSTRA ENTERED BY • BEAR MEETS EAGLE ON FIRE, SYDNEY IDEA CREATION • BEAR MEETS EAGLE ON FIRE, SYDNEY PRODUCTION • REVOLVER, SYDNEY / BISCUIT FILMWORKS, SYDNEY MEDIA • OMD, SYDNEY POST PRODUCTION • ELECTRIC THEATRE COLLECTIVE, LONDON / THE EDITORS, SYDNEY / RUMBLE STUDIOS, SYDNEY

F05/134 • UNITED KINGDOM • USE OF HUMOUR TITLE • SQUAD UP BRAND • SUPERCELL PRODUCT • ENTERTAINMENT ENTERED BY • UNCOMMON CREATIVE STUDIO, LONDON IDEA CREATION • UNCOMMON CREATIVE STUDIO, LONDON PRODUCTION • CAVIAR, LOS ANGELES

F07/017 • UNITED KINGDOM • CORPORATE PURPOSE & CSR TITLE • PARIS PARALYMPICS 2024: CONSIDERING WHAT? BRAND • CHANNEL 4 PRODUCT • CHANNEL 4 ENTERED BY • CHANNEL 4, LONDON IDEA CREATION • 4CREATIVE, LONDON PRODUCTION • 4CREATIVE, LONDON / BISCUIT FILMWORKS, LONDON POST PRODUCTION • TIME BASED ARTS, LONDON / FACTORY STUDIOS, LONDON

F09/038 • BRAZIL • CULTURAL ENGAGEMENT TITLE • SKIN BRAND • RAÇA MAGAZINE PRODUCT • INSTITUTIONAL ENTERED BY • LEPUB, SAO PAULO IDEA CREATION • LEPUB, SAO PAULO PRODUCTION • CZAR, SAO PAULO / DAHOUSE AUDIO, SAO PAULO / PXP, SAO PAULO

18

Grand Prix

Dan Wieden Titanium Lions

AXA - THREE WORDS AXA PUBLICIS CONSEIL, PARIS FRANCE A01/074 • FRANCE • PARTNERSHIPS/COLLABORATIONS TITLE • AXA - THREE WORDS BRAND • AXA PRODUCT • INSURANCE ENTERED BY • PUBLICIS CONSEIL, PARIS IDEA CREATION • PUBLICIS CONSEIL, PARIS PRODUCTION • PRODIGIOUS, PARIS MEDIA • WAVEMAKER, PARIS PR • PUBLICIS CONSULTANTS, PARIS POST PRODUCTION • PRODIGIOUS, PARIS

TITANIUM LION A01/148 • UNITED STATES •

A01/154 • BRAZIL •

A01/161 • SINGAPORE •

TITLE • CAPTION WITH INTENTION

TITLE • PEDIGREE CARAMELO

TITLE • VASELINE VERIFIED

BRAND • ACADEMY OF MOTION PICTURE ARTS & SCIENCES - RAKISH - CHICAGO HEARING SOCIETY

BRAND • PEDIGREE

BRAND • UNILEVER

PRODUCT • PEDIGREE

PRODUCT • VASELINE

ENTERED BY • ALMAPBBDO, SAO PAULO

ENTERED BY • OGILVY, SINGAPORE

IDEA CREATION • ALMAPBBDO, SAO PAULO

IDEA CREATION • OGILVY, SINGAPORE

PRODUCTION • BLACK MADRE, SAO PAULO / SURREAL HOTEL ARTS, SAO PAULO / RAW AUDIO, SAO PAULO

PRODUCTION • OGILVY, SINGAPORE / WHITECOAT PRODUCTIONS SINGAPORE

MEDIA • ESSENCEMEDIACOM, SAO PAULO

PR • OGILVY, SINGAPORE / OGILVY UK, LONDON / OGILVY SOUTH AFRICA, JOHANNESBURG

PRODUCT • CLOSED CAPTIONING ENTERED BY • FCB CHICAGO IDEA CREATION • FCB CHICAGO PRODUCTION • BELIEVE TV, SANTIAGO POST PRODUCTION • 456 STUDIOS, CHICAGO / PES MOTION STUDIO, HIGHLAND PARK / BOGOTA, CURITIBA

PR • GIUSTI CREATIVE PR, SAO PAULO / IMAGEM CORPORATIVA, SAO PAULO POST PRODUCTION • GAFANHOTTO POST, SAO PAULO

MEDIA • MINDSHARE, LONDON

POST PRODUCTION • OGILVY, SINGAPORE / WHITECOAT PRODUCTIONS SINGAPORE / CHAMELEON, SINGAPORE / BIG SYNC MUSIC, SINGAPORE / FVSE, SINGAPORE

TITANIUM

Grand Prix

Glass: The Lion for Change

REAL BEAUTY: HOW A SOAP BRAND CREATED A GLOBAL SELF-ESTEEM MOVEMENT DOVE OGILVY UK, LONDON UNITED KINGDOM

GLASS

GOOD TRACK WINNERS GLASS: THE LION FOR CHANGE

GRAND PRIX

BRONZE LION

B01/006 • UNITED KINGDOM

A01/019 • BRAZIL

LONG-TERM BRAND PLATFORM

TECHNOLOGY

TITLE • REAL BEAUTY: HOW A SOAP BRAND CREATED A GLOBAL SELF-ESTEEM MOVEMENT

TITLE • HER DOME

BRAND • DOVE PRODUCT • DOVE ENTERED BY • OGILVY UK, LONDON IDEA CREATION • OGILVY UK, LONDON

GOLD LION

BRAND • GOVERNMENT OF THE STATE OF SÃO PAULO PRODUCT • GOVERNMENT OF THE STATE OF SÃO PAULO - WOMEN’S SAFETY ENTERED BY • DPZ, SAO PAULO IDEA CREATION • DPZ, SAO PAULO PRODUCTION • DPZ, SAO PAULO / PXP, SAO PAULO / BIG STUDIO, SÃO PAULO / CLUBE FILMES LTDA, SAO PAULO MEDIA • DPZ, SAO PAULO

A02/039 • JAPAN

PR • DPZ, SAO PAULO

PRODUCT/SERVICE

POST PRODUCTION • DPZ, SAO PAULO / PXP, SAO PAULO

TITLE • HERALBONY BRAND • HERALBONY PRODUCT • HERALBONY ENTERED BY • HERALBONY, IWATE IDEA CREATION • HERALBONY, IWATE PRODUCTION • HERALBONY, IWATE / DENTSU INC., TOKYO MEDIA • HERALBONY, IWATE PR • HERALBONY, IWATE POST PRODUCTION • HERALBONY, IWATE

A02/049 • BRAZIL PRODUCT/SERVICE TITLE • GRAD IN BLACK BRAND • VULT PRODUCT • HAIR PRODUCT LINE ENTERED BY • GUT, SAO PAULO IDEA CREATION • GUT, SAO PAULO

B01/007 • UNITED KINGDOM

SILVER LION A02/030 • FRANCE

LONG-TERM BRAND PLATFORM TITLE • LIVEFEARLESS BRAND • BODYFORM

PRODUCT/SERVICE

PRODUCT • BODYFORM

TITLE • AXA - THREE WORDS

ENTERED BY • AMV BBDO, LONDON

BRAND • AXA

IDEA CREATION • AMV BBDO, LONDON

PRODUCT • INSURANCE

PRODUCTION • SOMESUCH, LONDON / CHELSEA PICTURES, LOS ANGELES / SMUGGLER, LONDON

ENTERED BY • PUBLICIS CONSEIL, PARIS IDEA CREATION • PUBLICIS CONSEIL, PARIS PRODUCTION • PRODIGIOUS, PARIS MEDIA • WAVEMAKER, PARIS PR • PUBLICIS CONSULTANTS, PARIS POST PRODUCTION • PRODIGIOUS, PARIS

MEDIA • ZENITH, LONDON PR • KETCHUM, LONDON POST PRODUCTION • TRIM EDITING, LONDON / TENTHREE, LONDON / 750MPH, LONDON / SOUNDTREE MUSIC, LONDON / TIME BASED ARTS, LONDON

A03/149 • UNITED STATES INITIATIVES

B01/009 • UNITED STATES

TITLE • THE PEN TO RIGHT HISTORY

LONG-TERM BRAND PLATFORM

BRAND • LAST PRISONER PROJECT

TITLE • DOVE LOVE YOUR HAIR

PRODUCT • NON-FOR-PROFIT

BRAND • UNILEVER

ENTERED BY • MCCANN, NEW YORK

PRODUCT • DOVE HAIR CARE

IDEA CREATION • MCCANN, NEW YORK

ENTERED BY • EDELMAN, NEW YORK

PRODUCTION • CRAFT WORLDWIDE, NEW YORK

IDEA CREATION • EDELMAN, NEW YORK

PR • WEBER SHANDWICK, NEW YORK

PR • EDELMAN, NEW YORK

POST PRODUCTION • NO6, NEW YORK / COMPANY 3, NEW YORK

21

Grand Prix

Sustainable Development Goals

THE AMAZON GREENVENTORY NATURA AFRICA CREATIVE DDB, SAO PAULO BRAZIL

SUSTAINABILITY

GOOD TRACK WINNERS SUSTAINABLE DEVELOPMENT GOALS

GRAND PRIX B07/015 • BRAZIL •

BRAND • KERNEL, MINISTRY OF FOREIGN AFFAIRS OF UKRAINE

TITLE • ARIEL #SHARETHELOAD (10 YEARS)

LIFE ON LAND

PRODUCT • AGRICULTURE

TITLE • THE AMAZON GREENVENTORY

ENTERED BY • SAATCHI & SAATCHI UKRAINE, KYIV

PRODUCT • ARIEL LAUNDRY DETERGENT

BRAND • NATURA PRODUCT • INSTITUTO NATTURA ENTERED BY • AFRICA CREATIVE DDB, SAO PAULO

IDEA CREATION • SAATCHI & SAATCHI UKRAINE, KYIV

IDEA CREATION • AFRICA CREATIVE DDB, SAO PAULO PRODUCTION • ZAINE FILMES, SAO PAULO / HALLEY SOUND, SAO PAULO

A01/010 • UNITED ARAB EMIRATES • POVERTY

ENTERED BY • BBDO INDIA, MUMBAI IDEA CREATION • BBDO INDIA, MUMBAI

BRONZE LION SILVER LION

A03/001 • AUSTRALIA •

A03/007 • GERMANY •

GOOD HEALTH AND WELL-BEING

GOOD HEALTH AND WELL-BEING

TITLE • THE BEST PLACE IN THE WORLD TO HAVE HERPES

TITLE • ANIMAL ALERTS

GOLD LION

BRAND • ARIEL

BRAND • PETPACE

BRAND • NEW ZEALAND HERPES FOUNDATION

PRODUCT • ANIMAL ALERTS

PRODUCT • NEW ZEALAND HERPES FOUNDATION

ENTERED BY • SERVICEPLAN, MUNICH

ENTERED BY • FINCH, SYDNEY

TITLE • RECIPE FOR CHANGE

IDEA CREATION • SERVICEPLAN, MUNICH / L&C, NEW YORK

BRAND • ARLA

PRODUCTION • REBECA, LIMA

IDEA CREATION • MOTION SICKNESS, AUCKLAND / NZ HERPES FOUNDATION, AUCKLAND

PRODUCT • PUCK

MEDIA • MEDIAPLUS GERMANY, MUNICH

PRODUCTION • FINCH, SYDNEY

ENTERED BY • FP7 MCCANN, DUBAI

PR • PEPPERCOMM, NEW YORK

IDEA CREATION • FP7 MCCANN, DUBAI

POST PRODUCTION • NATIVO POST, LIMA

POST PRODUCTION • BIGPOP STUDIOS, AUCKLAND / ATTICUS, SYDNEY

A05/033 • BRAZIL •

A05/058 • KAZAKHSTAN •

GENDER EQUALITY

GENDER EQUALITY

PRODUCTION • CRAFT DUBAI PR • CURRENT GLOBAL, DUBAI

A03/049 • BRAZIL •

TITLE • THE DOVE CODE

TITLE • SALTANAT LIGHT BRAND • CITIX

GOOD HEALTH AND WELL-BEING

BRAND • DOVE

TITLE • RESEARCH MY BODY

PRODUCT • DOVE

PRODUCT • CITIX

BRAND • GRUPO BOTICÁRIO • •

ENTERED BY • DROGA5, PART OF ACCENTURE SONG, SAO PAULO

ENTERED BY • GFORCE, ALMATY IDEA CREATION • GFORCE, ALMATY

IDEA CREATION • DROGA5, PART OF ACCENTURE SONG, SAO PAULO / UNILEVER, LONDON

PRODUCTION • CITIX, ALMATY / DK ENTREPRENEURSHIP, ALMATY

PRODUCTION • SAIGON, SAO PAULO / THE MILL, LOS ANGELES / BIG SYNC MUSIC, LONDON / HEFTY MUSIC AND SOUND, SAO PAULO / ESTUDIO DIPROD, FLORIANOPOLIS

PR • CITIX, ALMATY

PRODUCT • WOMEN’S RESEARCH CENTER • ENTERED BY • GUT, SAO PAULO IDEA CREATION • GUT, SAO PAULO MEDIA • GUT, SAO PAULO PR • GUT, SAO PAULO

B05/027 • DENMARK • CLIMATE ACTION

MEDIA • CITIX, ALMATY

B03/012 • BRAZIL • SUSTAINABLE CITIES AND COMMUNITIES

C03/027 • FRANCE •

TITLE • SOS BEES

BRAND • MUSEUM FOR THE UNITED NATIONS UN LIVE, SPOTIFY

REDUCED INEQUALITIES

BRAND • ABINBEV

TITLE • OMNILIVERY

PRODUCT • CONSUMER GOODS

PRODUCT • MUSIC

BRAND • OMNI

ENTERED BY • AKQA, COPENHAGEN

PRODUCT • MOBILITY SYSTEM FOR WHEELCHAIR

ENTERED BY • AFRICA CREATIVE DDB, SAO PAULO

IDEA CREATION • AKQA, COPENHAGEN MEDIA • SPOTIFY, STOCKHOLM

ENTERED BY • SAATCHI & SAATCHI FRANCE, PARIS

PR • LD COMMUNICATIONS, LONDON / NO. 29 COMMUNICATIONS, NEW YORK / THE WORLD WE WANT, LONDON

PRODUCTION • PRODIGIOUS, PARIS

TITLE • SOUNDS RIGHT

IDEA CREATION • SAATCHI & SAATCHI FRANCE, PARIS POST PRODUCTION • MECHANTS, SAINT-DENIS

C01/016 • UKRAINE •

IDEA CREATION • AFRICA CREATIVE DDB, SAO PAULO PRODUCTION • SATELITE AUDIO, SAO PAULO

B05/017 • CANADA • CLIMATE ACTION TITLE • WILDFIRE WATCHTOWERS

DECENT WORK AND ECONOMIC GROWTH

F01/013 • INDIA •

BRAND • ROGERS

TITLE • MINEFIELD HONEY: HARVESTING HOPE

LONG-TERM BRAND PLATFORM

PRODUCT • ROGERS

23

ENTERED BY • PUBLICIS CANADA, TORONTO IDEA CREATION • PUBLICIS CANADA, TORONTO PRODUCTION • THEPUBPRODUCTIONS TORONTO POST PRODUCTION • GRAYSON MUSIC, TORONTO / THEPUBPRODUCTIONS TORONTO

B06/018 • UNITED KINGDOM • LIFE BELOW WATER TITLE • REEF PROTECTION FACTOR BRAND • STREAM2SEA PRODUCT • CORAL CARE & RPF ENTERED BY • MCCANN DEMAND, LONDON IDEA CREATION • MCCANN DEMAND, LONDON PRODUCTION • MCCANN DEMAND, LONDON / FUTUREBRAND, LONDON / STREAM2SEA, BOWLING GREEN / MCCANN KUALA LUMPUR, KUALA LUMPUR MEDIA • UM, BIRMINGHAM / RAPPORTWW, LONDON PR • MCCANN DEMAND, LONDON

D01/001 • SPAIN • PEACE, JUSTICE&STRONG INSTITUTIONS TITLE • NOBODY SHOULD DIE AT XMAS BRAND • OPEN ARMS PRODUCT • CHRISTMAS CAMPAIGN ENTERED BY • DOUBLEYOU, BARCELONA IDEA CREATION • DOUBLEYOU, BARCELONA PRODUCTION • BLUA, BARCELONA

F01/021 • UNITED KINGDOM • LONG-TERM BRAND PLATFORM TITLE • HOW DOVE TOOK ON A NEW ERA OF TOXIC BEAUTY BRAND • DOVE PRODUCT • DOVE ENTERED BY • OGILVY UK, LONDON IDEA CREATION • OGILVY UK, LONDON

SUSTAINABLE DEVELOPMENT GOALS

GOOD TRACK WINNERS SUSTAINABLE DEVELOPMENT GOALS

24

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