Roundup: Cannes Lions Winners
A look at this year's champions - and some thoughts on what they indicate about the direction of branding, advertising and creativity moving forward.
Inspired by last week’s winners at the Cannes Lions Advertising Festival, we figured we’d do a roundup for our readers – and consider how these selections offer actionable ideas and considerations for advertising and branded interactions in general, moving forward.
The breadth of winners and work gives us an indication that traditional advertising (TV) is not yet pronounced dead – the reality is that it is still the highest-reach medium that is now more often part of an integrated campaign with digital and experiential media alongside it. That said, traditional media is not always necessary, as evidenced by Chalkbot and Twelpforce – the appropriate media platforms used depend entirely on a brand’s individual objectives against their target audience. Original, engaging and innovative work can take any form – including that of a robot controlled by Twitter’s API – or a televised man on a horse.
- The Titanium Grand Prix was awarded to Crispin Porter & Bogusky for the Twelpforce for Best Buy, a Twitter page that offers expert technical advice to anyone with tech issues. A democratized extension of the brand’s Geek Squad, no products are pushed via the site, nor Best Buy-based purchase required. As Seth Godin has argued – free “gifts” from a brand to its current – and future – customers can have invaluable impact.
- Chalkbot for the Nike Livestrong Foundation allowed Wieden + Kennedy Portland pick up Grand Prix awards in both the Cyber and Integrated categories. The campaign allowed Tour de France spectators to send messages to a chalking machine via SMS, Twitter or the WearYellow.com website, with the messages ultimately spelt out on the course. Is this one of the first broad-reaching examples of how The Internet of Things can impact advertising, or branded messages?
- W+K also picked up a Grand Prix in the Film Lions for the TV campaign for Old Spice, “The Man Your Man Could Smell Like”. We previously discussed this humorous, single-shot spot, which was a production feat in and of itself. A self-deprecating sense of humor can be an effective means of getting people to look at an individual with fresh eyes – and, as this demonstrates – an old school, previously un-cool brand, as well.
- DDB Stockholm‘s “Fun Theory” series of films for Volkswagen Sweden won a second Grand Prix in the Cyber category, proving that fun is an effective means of changing behavior – and for persuading people. We hope to see ‘fun’ continue to play a more prominent role in campaigns moving forward – particularly for brands that you would not immediately associate fun with.
- “The Gift”, one of the films featured in the Philips Parallel Lines campaign from DDB London, won the Grad Prix in the Film category. Branded Entertainment will continue to offer a more engaging, longer-form opportunity for brands will to give up some of the stringent brand guidelines they may attribute to :30 TV spots (i.e., ‘can you show or mention the brand within the first 5 seconds?’)
- The Metropolitan Police‘s Choose A Different Ending – and anti-knife campaign – nabbed AMV.BBDO the Grand Prix for Good, which recognizes charitable campaigns. This entailed a very engaging, creative use of YouTube that allowed viewers to decide how a storyline played out. Much like “Touching Stories” may do on the iPad – will we see more ads give viewers a seeming sense of options, or control, over the actual storytelling?
- Happiness Brussels was awarded the Design Lions Grand Prix for its iQ Font for Toyota. The new font was created for the car brand, and was available to download for free from Toyota’s website. Fonts are usually very highly guarded by the brands for whom they were designed – we expect the democratization of design will thus continue.
- Two campaigns were awarded in the Outdoor category: Anomaly New York for its Be Stupid campaign for Diesel, and Del Campo/Nazca Saatchi & Saatchi in Argentina for its Andes Tele-transporter campaign for Cerveza Andes Beer. The first featured some rather eye-catching images to showcase smart-stupidity, while the latter consisted of a clever rouse to allow men to call their girlfriends, convincing them they are somewhere else. A series of booths was placed in bars with different ambient backdrops playing within the incubation of the booth. A quick call later, and a man’s late night at a bar became a late night at the office – or at the ER.
[via Creative Review]