Film, Film Craft, Music, Entertainment, Titanium and Integrated Lions awards
'SHOPLIFTERS' GRABS TOP PRIZE
FOR HARVEY NICKS
LONDON-based agency Adam&EveDDB has won the 2016 Film Grand Prix for Shoplifters, created for up-market retailer Harvey Nichols.
The production company on the ad was Blink, with the Layzell Brothers directing. The art director was Colin Booth, with copywriting by Ben Stilitz.
The irreverent 90-second commercial promotes the store’s new reward app by using real CCTV footage of shoplifters stealing from the iconic store in the exclusive Knightsbridge area of London. The faces of the thieves are obscured by simple cartoons and the spot ends with the culprits being caught by store security and placed in holding cells. The humorous tagline on the campaign is “Love freebies? Get them legally”.
The work is not especially sophisticated in terms of its film craft, underlining a trend at this year’s event towards rewarding campaigns that primarily have a big impact.
The Film category has been kind to Adam&EveDDB this year, with the company also winning a Gold Lion for Tiny Dancer, its much-admired commercial for John Lewis Home Insurance, also produced by Blink.
Led by The Martin Agency’s chief creative office Joe Alexander, the film jury awarded 15 Gold Lions, with the UK and US dominating. These included Integrated Grand Prix winner House Of Cards FU 2016 and Cyber Grand Prix winner Justino. This year also saw two Golds for India’s Ogilvy & Mather Mumbai. Other winning campaigns hailed from Argentina, Sweden and Japan.
US TAKES TITANIUM AND INTEGRATED
THE WINNER of the 2016 Titanium Grand Prix is #OptOutside, an innovative campaign created by Venables Bell & Partners San Francisco for outdoor retailer REI. It has already won a Promo & Activation Grand Prix, with the jury president calling it “the greatest anti-promotion ever”.
The campaign saw REI shut all its stores and close its sales website on Black Friday, the busiest day in the US retail calendar. It urged staff and customers to ‘Opt Outside’ and gave them ideas about how to enjoy their day.
Some 170 other organisations followed suit and leisure facilities offered free entry for the day. REI generated 2.7 billion media impressions in 24 hours and got 1.4 million people to go outside.
The Integrated category, which awards campaigns executed across multiple media, delivered another US Grand Prix winner, BBH New York for Netflix FU.
The campaign used the excitement around the Republican presidential debate in 2015 to generate interest in the Netflix political drama House Of Cards.
It ran a fake presidential ad for the show’s central character Frank Underwood in a commercial break during the televised debate. BBH then drove viewers on to digital platforms. ‘FU2016’ became a top trending topic on Twitter and Facebook within an hour of the launch. An immersive website, FU merchandise and a fake campaign HQ added to the campaign, which ultimately generated 6.6 billion media impressions.
DROGA5 WINS FOR UNDER ARMOUR
THE 2016 Grand Prix for Film Craft has been awarded to ‘Under Armour Phelps’, a 90-second ad for US sportswear brand Under Armour from Droga5 New York. The production company was Epoch Films, also based in New York.
A beautifully-shot film, with The Kills’ The Last Goodbye as the soundtrack, the ad goes behind the scenes with swimmer Michael Phelps as he prepares for his last Olympic Games – Rio 2016. Typical of Under Armour work, it captures both the physical and mental price that top athletes pay in order to achieve their goals. This is then summed up in the powerful end line which states: “It’s what you do in the dark that puts you in the light.”
The Droga5/Epoch team also picked up two Gold Lions for the Phelps commercial and another for an Under Armour ad focusing on women’s gymnasts in the US.
That wasn’t the end of story for Droga5, which also picked up a clutch of Golds for Hennessy The Piccards, a spectacular commercial for Wild Rabbit that was based on the story of father/son explorers Auguste Piccard and Jacques Piccard.
ENTERTAINMENT WINNER MOVES BRAND FORWARD BY 100 YEARS
IN 2015, the first year of the Creative Data awards category, a tough jury decided to set the bar for success very high by not awarding a Grand Prix. So this year’s Grand Prix winner can justifiably claim to be the category’s first ever. Already successful this year, it is ‘The Next Rembrandt’, a JWT Amsterdam campaign for ING Bank.
Jury president Tash Whitmey, group CEO of Havas Helia, said: “’The Next Rembrandt’ was a tremendous entry. It was a beacon for this category and the data industry. It was inspiring and a little scary. It raised uncomfortable questions about humanity vs data.”
Speaking more generally, Whitmey said: “It is incumbent on us to reward work that sets a direction of travel for the data industry. We were looking for work that would be inspiring, where data and creativity were intrinsically linked.”
From a pool of 715 entries, just five Golds were awarded. These went to campaigns from Ecuador (two), Australia, Costa Rica and the US.
INAUGRAL MUSIC GRAND PRIX:
SO GOOD THEY GAVE IT TWICE
JOSH RABINOWITZ, president of the inaugural Entertainment Lions for Music, observed that he and his fellow judges rapidly realised that the breadth of the category meant that they would be judging ‘apples and oranges’.
“Basically it boils down to branded content versus music videos, and clearly branded content has to deliver a brand message whereas music videos at their best are an art form that is in no way obliged to deliver that,” he said. “And that’s why we decided to award two Grands Prix.”
The winners were the Home For Christmas campaign for Edeka by Jung von Matt Hamburg and Formation by Beyoncé, produced by Prettybird.
Home For Christmas is a campaign based around an original track called Dad by Neele Ternes, that became a huge hit designed to encourage young people to change their travel plans in order to spend more time with their families during the holidays.
Formation features a small army of dancers in a deep-south environment, with nods to the current state of race relations across the US. “We chose the Beyoncé video because it’s the biggest artist on the planet taking serious risks by touching hot button issues like race, which is in a very strange place right now in the US, plus also pushing the limits of what a music video can be,” Rabinowitz added. “To be such a big artist but to also be so brave is extremely rare and very important musically, creatively and sociologically.”
The Edeka campaign was praised for its stand-out song. “The music commissioned for the film is superb and deservedly charted very high, while the emotional impact of the campaign is amazing and beautifully executed, which is all the more praiseworthy in a genre where bad execution results in truly terrible adverts.”