I was happy to see my favorite campaign from 2015 pick up a Titanium Grand Prix Cannes Lion. Much of the chatter from the festival was predictable (scam ads, the importance of technology, how to deal with the emotional resonance inherent in cause-related advertising). But a few of the big winners surprised me—I wasn’t sure this campaign was going to get the recognition it deserves.
Why do I like it so much? It is a brand sticking to its values in the most important way possible. If the strength of a person’s values can be measured by what they do when nobody is looking, the strength of a brand’s can be measured by what they do when lots of money is on the line. And there’s a lot of money on the line on Black Friday.
Closing its doors on Black Friday and encouraging people to go outside instead is a simple idea. But it’s also brave and, importantly, perfectly embodies what the brand stands for. It’s not latching onto a cause or topical conversation. It’s creating its own cause: nature>commercialism.
Beyond that, it’s very well executed. The design is great. The tone is great. And the hashtag is a fantastic bit of short writing. Kudos to the teams who pulled it off. Wish I had this one in my portfolio.
This year’s Cannes Grand Prix Winners have been announced. It’s worth checking them out here.
As you view these, here’s something to keep in mind: A few years ago, I posted an idea by Gideon Amichay who was the ECD at Y&R Tel Aviv at the time. You can read the post here. But the Cliffs Notes are that while creative is a good thing to strive for, brilliant is better, different better still, and innovative is the Holy Grail.
Volvo’s “Epic Split,” which won the Cyber Grand Prix and Film Grand Prix is creative, brilliant and different. But maybe not innovative. Same can be said about the Harvey Nichols “Sorry, I Spent It On Myself” campaign, which won the Promo/Activation, Press, Integrated, Film Grand Prix.
I’m not knocking either of these. They’re both fantastic. But it shows how incredibly difficult it is to be innovative in advertising. Even the best pieces in the world have a hard time reaching that mark.
This year’s Direct Grand Prix is from British Airways. And this year’s Cyber Grand Prix is Pharrell Williams’s “24 Hours of Happy.”
Both of these, in my mind, hit the innovative bull’s eye. Pharrell’s video especially, because it reminds us that it’s not just agencies like Goodby and Wieden and BBH and Jung von Matt that are competing for eyeballs. In the Attention Economy isn’t driven by copywriters and art directors alone.
This piece was penned by Prentice Mathew, a senior art director. In the current annual fervor of Cannes, he claims “advertising awards are now for losers.” You might agree. You might find it heresy. Either way, it’s an interesting read. Anyone agree? Disagree? (And is it easier to agree or disagree based on how many awards you won this year?)
In this article, Cannes jury members share what they’re sick of seeing. If they’re sick of seeing it at Cannes, they’ll be sick of seeing it in your book.
The two biggest offenders? Vending machine work and case study videos. Just something to keep in mind as you’re concepting.
I think the interviews coming out of Cannes are just as interesting as the winners. They might be more important, too.
Here’s an interview with Ali Ali, the CD at Elephant Cairo. You’ve probably seen his “Never Say No to Panda” work.
He’s got some interesting things to say on talent. Granted, it’s an Egyptian view. Not everything he says will translate to job markets in Chicago or New York or LA. Or will it? Here’s one of his more interesting quotes:
“Agencies need to downsize…You can’t have a creative department of 40 people. I think that immediately means that 30 of them are not good.”
What do you think of that?
Here’s an interesting competition that could get you to Cannes.
I saw these guys speak this year at Cannes. A great talk. Here’s kind of a short version that I thought was appropriate on the tails of Nate’s Traditional vs Digital article.
Barry Wacksman & Nick Law of R/GA