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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : Nov Dec 2010
AWARDS 18 CAMPAIGNBRIEF NOVEMBER/DECEMBER 2010 ‘Call for Entries’ while the other sil- ver and bronze were for McDonald’s. “Australian entrants have once again proven their creative superior- ity,” said Barbara Levy, president of London International Awards. “They have won across all media. I would like to congratulate all the winners.” There were only two Grand LIAs out of a potential thirteen awarded with Almap BBDO Brasil winning the print Grand LIA for its Consumer Campaign for Billboard Magazine’s ‘Bono’, ‘Amy’, ‘Eminen’, ‘Marilyn’ and ‘Britney’ and Ogilvy Johannesburg winning the Television/Cinema/Online Film Grand LIA for the Public Service/Welfare spot ‘Selinah’. Winning a Grand LIA in this year’s show is huge, said Levy, especially when you consider that only two were awarded out of a potential thirteen. “It was obvious this year that the juries were looking for ground- breaking, innovative work. It was commented on repeatedly, by the jurors that the work showcased in the Annual not only be creative, but must also engage the consumer and set new boundaries.” Australian expat, Sarah Barclay, executive creative direcotor New York, who sat on the non-tradition- al, Print, Poster, and Billboard jury, said they were tough, but also incredibly insightful and thoughtful. And there was some spirited debate, which always makes things interesting. “The incredibly crafted Billboard Magazine campaign stood out of course,” she said. “I loved the long copy Vespa ‘Hug’ ad and the VW campaign for Independent Cinema. In the Non-Traditional category, the Claro RingTowns had everyone smiling. Then there was the clever idea of using the TV show Top Gear to feature the VW Scirocco without spending a thing.” Of the 13,562 submissions, from 79 countries, only four percent (4%) attained shortlist status. Of those, only 0.6% won gold statues; 0.87% silver statues; 1.12% bronze statues and 1.33% finalist. The vast number of submissions reflects the prestige and explosive growth of the London International Awards since its inception in 1986 when 2,600 submissions were considered. Across the region, Japan dominat- ed the Asian performances with seven gold, two silver and nine bronze statues. Twelve Japanese agencies contributed to the wins, lead by Campaign Brief Asia’s top ranked agency, Dentsu with two gold, one in posters for OLFA Cutter ‘Cutter Art of OLFA’ and David Nobay: “For a start, we committed to making the all too-often humble bronze something that carried genuine weight and stature. I like to think of it as ‘the working man’s gold’, and on this jury, we ensured it was hard-fought for and hard earned.” “In the end though, those pieces were something that we had seen before, hence no Grand LIA award. Still, the work you will find in this awards annual is amazing. It’s the kind of work that will influence the rest of the industry. It already has. It will inspire the future. Ten years from now, people will remember 2010 as the year Digital became real.” Rei Inamoto. one in digital for UNIQLO’s ‘25th Anniversary’ campaign and bronze in digital for Phonebook’s ‘Weird Wonderful Work’. ayrcreative Tokyo also won two gold statues, both for The Natural Fermentation Homemade Bakery’s ‘Daichi no Mi’, one in corporate identity and the other in design for its calendar. The other golds went to TBWA/Hakuhodo Tokyo in non- traditional for adidas’ corporate image and IMG SRC Inc. Tokyo in digital for Verbatim Storage Media and Projector Inc., Tokyo in digital for UNIQLO. Rei Inamoto, chief creative officer of AKQA and jury president, Digital, said he asked his fellow judges to have two goals: one was to discover work that would set the standard for the following decade, the other was to identify something that had never been seen before. “Less than ten years ago, social networking wasn’t even a term. Now, your mom is suddenly befriending you and leaving embar- rassing comments on your ‘wall’ without realizing your five hundred virtual friends can see it too. Now that the first decade of the 21st Century has passed, digital has become real,” he said. The list of noteworthy winners created the kind of work that is big yet simple, innovative and impact- Rei Inamoto: “Less than ten years ago, social networking wasn’t even a term. Now, your mom is suddenly befriending you and leaving embarrassing comments on your ‘wall’ without realizing your five hundred virtual friends can see it too. Now that the first decade of the 21st Century has passed, digital has become real.” 19 NOVEMBER/DECEMBER 2010 CAMPAIGNBRIEF ing, the kind of work that makes you jealous. “One entry cleverly repurposed existing behavior in social media to show new possibilities in com- merce,” said Inamoto. “Another utilized similar media but gave employees the power to connect with consumers directly. There was also a piece that hijacked paid media and made it their own. In the end though, those pieces were something that we had seen before, hence no Grand LIA award. Still, the work you will find in this Annual is amazing. It’s the kind of work that will influence the rest of the industry. It already has. It will inspire the future. Ten years from now, people will remember 2010 as the year Digital became real.” Marcello Serpa, partner/general creative director, AlmapBBDO, São Paulo and jury president - Non-Traditional Print, Poster, Billboards, in which Australia picked up a gold and two bronze and New Zealand won a bronze, said the category, which should define the future of advertising, did not live up to the hype and was very traditional. “Some of the videos presented made an incredible effort to sell an average idea as the most revolution- ary action in the history of their countries,” said Serpa. “In contrast to previous years, there were too many adjectives for very few ideas. Billboards, Poster and Print delivered well on what they promised. There were many good pieces, some excellent, and a few brilliant.” Serpa was entirely impressed with the London International Awards judging. “There is a difference between a business that is driven by the bot- tom line and one that is driven by the caring line. No doubt the London International Awards belongs to the later. “We were welcomed by Barbara (Levy) and her team with an affec- tion and attention that is difficult to find these days in our market, which is increasingly subject to cor- porate indifference. I extend my gratitude for making us comfortable in the best setting, with the best technology and with only the best creative talent to select the best work of the year.” David Nobay, creative chairman Droga5 Australia, and jury presi- dent, Integrated Campaign, Television/Cinema/Online Film, of which Australia picked up gold, sil- ver and bronze, winning three of the nine statues awarded, said on most juries there’s an expectant rush to get to the shiny stuff when it comes to judging a show. Sarah Barclay: “The incredibly crafted Billboard Magazine campaign stood out of course. I loved the long copy Vespa ‘Hug’ ad and the VW campaign for Independent Cinema. In the Non-Traditional category, the Claro RingTowns had everyone smiling. Then there was the clever idea of using the TV show Top Gear to feature the VW Scirocco without spending a thing.” “We debated the core component of the New category. Simply using technology isn’t enough. In fact, despite the name, novelty alone isn’t enough - for what we do isn’t art, done only for its own sake, but for the goals of our clients. To be New is more than being novel, it must be relevant, it should interface with culture. It should help us pave the way to the future of our industry. The statues we did award were richly deserved.” Faris Yacob. “Somehow, in all the exhaustion of sifting through the inevitable detritus, conversations about what constitutes a great finalist are over- shadowed by the roar of debate over whether a piece is gold or sil- ver, or possibly even a Grand Prix contender,” he said. “Not so, on this jury. For a start, we committed to making the all too-often humble bronze something that carried gen- uine weight and stature. I like to think of it as ‘the working man’s gold’, and on this jury, we ensured it was hard-fought for and hard earned. Secondly, all of us saw all the work. This makes a huge differ- ence, when it comes to the quality of debate in the room. It meant we shared a common focus, and it resulted, I believe, in a very tight, considered selection. If you made it in as a Finalist, take comfort in the knowledge your work was consid- ered at great length. If you didn’t, hopefully this book will serve as a level to aspire to for next year.” For Ralph van Dijk, founding cre- ative director, Eardrum Sydney, who was on the radio jury, LIA has created the gold standard for award show judging. “The location is as vibrant as the work is inspiring, and there’s a real desire by the LIA team to make the judging process even more thor- ough and streamlined,” he said. Faris Yacob: “Cultural salience is of course a valuable measure of what we do as an industry - earning attention, creating interesting culture. But simply doing good outreach or PR stunts doesn’t necessarily equate to the same thing.” %
CB NAT FEB 2011