Congratulations to all of our nominees
The winners will be announced at the Live Awards Show on Thursday, June 15, 2023 BST - Purchase in-person event tickets here.
5
Retail
Description
For a strategy or campaign created for any retail business or organisation.
Criteria
Judges will review entries based on the following criteria: Innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
adidas x IMA-HOME
Client
adidas
Summary
For the 2022 World Cup, IMA-HOME designed a conceptual retail environment for adidas’s London flagship store, transforming the space into a playful suburban house, a place for the whole football family to belong.
Our approach was based on the idea that every four years the global diaspora comes together for sport’s biggest tournament; generations, geographies and cultures of players and fans all uniting for a family reunion. So we built a home for them in the beating heart of one of football’s great cities.
Taking its cues from the kitsch aesthetic of 1970s family living, the adidas space was a set-design installation that we carried across windows and granular touchpoints. Our aim was to put an irreverent spin on traditional game narratives - resonating with young audiences who make their own football culture outside of the mainstream. Our space was for them to literally gather round the TV for the match, curated with the new nostalgia they know so well.
We gave the rest of our space that same retro appeal, filling it with vintage furniture, heritage moments and interactive props so consumers could relax and discover as they shopped. We also programmed and delivered a series of activations to drive store traffic and adidas membership. The whole experience was scaled into satellite spaces across White City, Stratford, and Carnaby Stores.
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Entry video
Entry credits
- Rick Hulme, Group Account Director, IMA-HOME
- Sarah Schofield, Account Director, IMA-HOME
- Romin Mehdizadeh, Associate Creative Director, IMA-HOME
- Joshua Beeson, Design Director, IMA-HOME
- Josh Deamer-Macaulay, Senior Designer, IMA-HOME
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Company
VMLY&R/The Pharm
Client
Boots UK
Summary
Boots had always been the go-to place on the high street for Christmas gifts. But post-pandemic, this was being challenged. We’d slipped back to 4th place preference in consumers’ minds, many associating us with last minute, less considered purchases.
That said, the pandemic gave Boots chance to rediscover what made it special.
By getting even closer to people’s lives during this tough period, we experienced their ups and downs first hand. This deep empathy makes Boots unique, giving us a real insight and fresh perspective on Christmas too.
We broke from category conventions to offer a different vision of festive joy for our core audience: grounded in everyday life, available for every budget, more connected to the challenges they were facing.
In just two years, we’ve re-captured people’s attention and spend, moving from 4th to 1st choice for Christmas gifts on the high street, achieving the highest penetration of any retailer for the festive season in 2022. Value share has increased by 3.5 ppts to 30.4%, with a campaign ROI of £4.30 for every £1 spent. Furthermore, our growth for Christmas 2022 is ahead of the majority of UK retailers.
Most importantly, we’ve shown people that innovative marketing and creativity can inject new magic into the fortunes of a high street retailer, even at 174 years young.
Entry image
Image Christmas.pdf
Entry video
Entry credits
- Peter Markey , CMO, Boots
- Helen Jerimiah, Marketing Director, Boots
- Emma Locker, Product Owner: Seasonal and Value, Boots
- Rebecca Vittles , Marketing Manager, Boots
- Cara Mcnaughton , Creative and Media Specialist, Boots
- Ollie Shayer , Omni-media Director, Boots
- Hollie McLellan , Director of Customer Marketing & Loyalty, Boots
- Eve Spooner , Loyalty Marketing Manager, Boots
- Jessica Berry , Loyalty Assistant Marketing Manager, Boots
- Amy Caven , Head of Media Strategy & Planning, Boots
- Stephanie Taylor , Media Manager, Gifting & Seasonal, Boots
- Chelcie Moore , Media Manager, Boots
- Chloe Bowers , Media Specialist, Boots
- Laurent Simon, Chief Creative Officer, The Pharm
- Sara Rose , Executive Creative Director, The Pharm
- Lee Hanson , Creative Director, The Pharm
- Mark Prime , Creative Director, The Pharm
- Maja McIntosh , Executive Producer, The Pharm
- Eleanor Hardcastle , Producer, The Pharm
- Eva McAlpine , Production Assistant, The Pharm
- Sam Phillips-Grey , Client Partner BX, The Pharm
- Kylie Newton , Client Partner CX/CRM/Loyalty, The Pharm
- Sian Richards , Business Director, The Pharm
- Lucy Howard , Business Director CX/CRM/Loyalty, The Pharm
- Zoë Venning , Account Director, The Pharm
- Sophie Beaumont , Programme Director, The Pharm
- Steven Murray , Programme Director, The Pharm
- Grace Bassett , Account Manager CX/CRM/Loyalty, The Pharm
- Charles Pendry , Account Executive, The Pharm
- Mark Linford , Strategy Director, The Pharm
- Anastasia Besson , Strategy Director, The Pharm
- Marisa Macedo , Data Analyst, The Pharm
- Rachel Morris , Creative Director, The Pharm
- Daryl Corps , Creative Director, The Pharm
- Charlie Hallam and Bilel Labjaoui (Product TV, Radio, DOOH & Print): , Senior creative team, The Pharm
- Aidan Whitley and Joseph Martin (Digital display), Creative team , The Pharm
- Rafi Stone and Nick Houghton (Paid social), Creative team, The Pharm
- Constance Sone & Suzanne Quill, Social Creatives, The Pharm
- Rebecca Stewart , Social Account Manager, The Pharm
- Caner Daywood , Associate Content Director, Social Strategy, The Pharm
- Annie Whitfield, Social Content & Community Manager , The Pharm
- Rachel Cramond , Health & Beauty Account Director, The Pharm
- Joey Gordon , Senior designer, The Pharm
- Jonathan Parr & Rob John , Designers, The Pharm
- Pierre Griffin & Stuart Wallace , Animators, The Pharm
- Sophia Ben Yedder , Designer Lead, The Pharm
- Anna Pollard , Radio Producer, The Pharm
- Gareth Allen , Media Managing Partner:, MediaCom
- Arabella Blaikie , Media Business Director, MediaCom
- Rachael Alston , Media Senior Associate Director, MediaCom
- Oliver Clarke , Media Senior Associate Director, Paid social, MediaCom
- Bhavana Pillarisetti , Media AV Account Director, MediaCom
- Esther Williams , Media Paid Social Account Director, MediaCom
- Hanna Pickard, Media Senior Associate Director, Digital, MediaCom
- Alan Meech , Media Account Director, Programmatic DOOH, MediaCom
- Seonaid Young , Media Account Planner, MediaCom
- In-store :, Truestory , Oliver
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Company
Purple Goat Agency
Client
Currys
Summary
We were excited to embark on a recent collaboration with Currys to showcase how disability can be naturally integrated into their existing social output, to create something really progressive, dynamic, and oozing authenticity from the ground up.
We partnered with disabled creators to show how the latest tech from Currys can offer helpful hacks and adjustments, making everyone's lives easier. To guarantee that the campaign was an absolute success, creators were tasked with authentically sharing their interesting tech hacks and to naturally communicate the services available.
Debunking common misconceptions, it was critical to take the discussion a step further to demonstrate how Currys is actively building inclusive and accessible in-store shopping experiences for everyone, with their newly introduced Quiet-Hour and Sensory Map for customers to confidently navigate around the store.
To seal the campaign off, we emphasised an additional progressive service Currys developed, ShopLive, which allows customers to enjoy an in-store shopping experience whilst shopping online, and independently make the right purchase decision from the comfort of their home.
Using 5 disabled creators who are prominent voices in the social media world, the campaign generated over 5.3 million impressions and 1.6 million engagements. The campaign delivered impressively against its targets for representation, education and commercial success, which in turn sparked further conversations around Currys and its offerings in the world of inclusion and diversity. We’re excited to see how this encourages other companies in the space to think about how they can authentically engage with the disabled community.
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Entry video
Entry credits
- Danielle Roberts, Senior Insights & Campaigns Manager, Purple Goat Agency
- Alex Rodrigues, Insights & Campaigns Mananger, Purple Goat Agency
- Bobbie Solkhon, Campaign Executive, Purple Goat Agency
- Ben Carthy , Paid Social Manager, Purple Goat Agency
- Laura Ferrol, Account Manager, Purple Goat Agency
- Dom Hyams, Head of Strategy, Purple Goat Agency
- Josephine Choy, Senior Strategist, Purple Goat Agency
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Company
Tin Man
Client
Gumtree
Summary
People say there is no such thing as a free lunch. But with Gumtree’s Freebies platform, there really is.
Well, not lunch per se, but thousands of everyday and big-ticket items all available, completely free.
The problem? No-one was interested.
Despite the growing cost-of-living crisis, Gumtree - the circular economy platform and destination for cost savvy, sustainable shopping – had a serious perception problem. The negative stigma around free goods was preventing consumers from engaging and using the platform when they needed it the most.
We had to reinvigorate love for Gumtree’s Freebies section and show the nation what they were missing.
Enter ‘Gumfree’, the first, completely free pop-up shop in the heart of London’s Shoreditch which brought to life the breadth of quality products available on the platform.
Colourful, busy, and full to the brim with every day, one-off and high value items, Gumfree changed attitudes and re-positioned Gumtree as a positive and key player within the UK circular economy.
The integrated campaign saw a ‘sold out’ experiential, 91 pieces of coverage, 65% consideration, an 11% increase in web traffic and over 3 million content impressions.
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Entry credits
- NA NA, NA, NA
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Company
Tonic Agency
Client
Currys
Summary
5 brands become one superbrand. Boom!
In 2021, Currys the ‘superbrand’ launched in the UK, formed by the amalgamation of Currys PC World, Carphone Warehouse, Team Knowhow, iD Mobile and Dixons Carphone.
We partnered with Currys to transition its existing Dixons Carphone employer brand into one which aligns with the new Currys consumer brand positioning.
What happened next
a new tone of voice
a refreshed look and feel
activated across multiple channels, collateral and touchpoints
two audience segments – colleagues and candidates
Success!
71% increase in website visits
47% rise in applications
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Entry video
Entry credits
- Emma Elson, Group Project Director, Tonic Agency
- Neil Fox, Head of Art, Tonic Agency
- Tony Fitzpatrick, Senior Writer, Tonic Agency
- Abbie King, Producer, Tonic Agency
- Hannah Mattick, Talent Brand & Attraction Partner, Currys
- Simon Keates, Senior Manager, Talent Attraction, Currys
- Victoria Reilly, Head of Talent Acquisition, Currys
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3
Healthcare & Pharma
Description
For a strategy or campaign created for any healthcare or pharma business
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
BT
Client
BT
Summary
The NHS is under intense pressure and when it comes to the adoption of new technology, the previous approach of building new technologies and making them fit isn’t working. BT was losing market share with the NHS and needed a new approach.
Enter – the Vanguard Programme. Providing a collaborative space for BT and forward-thinking NHS Trusts to tackle key challenges, innovate new solutions and ultimately improve patient outcomes through co-creation.
The programme launched with an event campaign resulting in more partners signing up than hoped, a pipeline value +300% above expectations, strong social engagement, and reinvigorated NHS relationships.
Entry image
Entry video
Entry credits
- Bethan Doran, BT Health Marketing Manager, BT
- Jo Hilliard, BT Health Marketing Professional, BT
- Rebecca Shoesmith, BT Graduate, BT
- Amanda Weekes, BT Senior Marketing Manager, BT
- Paul Bennett, Director, PB Digital
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Company
Edelman GmBH
Client
MSD Sharp & Dohme
Summary
To show how demanding and challenging the time after successful cancer treatment still is for patients, MSD shows the unvarnished truth with the help of real patients, who experience their personal second first time in real time on camera.
Their stories are told and show that society and everyone around a cancer survivor must be supportive and patient.
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Entry video
Entry credits
- Manuel Frank, Global Creative Chair for Health, Edelman
- Johanna von Rumohr, Creative Director, Edelman
- Annika Boettcher, Art Director, Edelman
- Sophia Gorges, Executive Director, Edelman
- Sybille Dinzer, Planning Director, Edelman
- Sophie Falke, Senior Project Manager, Edelman
- Elizabeth Adamson, Account Director, Edelman
- Laura Staudt, Account Executive , Edelman
- Sissy Genth, Account Executive, Edelman
- Katja Schloemer, Senior Producer, Edelman
- Haya Alatassi, Digital Media Manager, Dxi, Edelman
- Jennifer Sancho Puebla, SEO & Analytics Manager, Edelman
- Hagen Albers, SEO & Analytics Lead Germany, Edelman
- Maurice Selg, SVP, Dxl, Edelman
- Fatima Qureshi, VP, DxI, Edelman
- Maren Parniske, Research Analyst, DxI, Edelman
- Dan McLeod, Research Manager, DxI, Edelman
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Company
Home Instead/PHD Manchester
Client
Home Instead
Summary
To celebrate the achievements of those who continue to significantly contribute to society in their later years, we created ‘Purple Plaques - Celebrating lives lived well’ – a campaign that not only celebrated a societal group that is side-lined by mainstream media coverage but also went beyond *just* being a marketing campaign that came and went, by creating lasting physical legacies of their achievements.
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Entry video
Entry credits
- Adam Smith, Planning Director, PHD UK
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4
Consumer
Description
This category will reward the best consumer campaigns or strategies.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Total Media & McCann Birmingham
Client
Epson
Summary
Epson wanted to increase brand awareness of their ink tank printers in the key markets of Germany, Poland and Italy, however the printer market in these territories is in decline.
Epson have sponsored Usain Bolt since 2021, but changed the strategy for 2022 media execution by challenging what people expect from printing from the world’s fastest sprinter.
This emotional led advertising was combined with behavioural media strategy rooted in psychology to identify and reach new target audiences across each market and helped create an audience-focused media plan to deliver success.
Results showed that Epson achieved an uplift in brand awareness in these three markets, with total awareness and consideration for purchase both increasing by double digits
Epson also achieved a significant uplift in market share in each of the three markets.
Entry image
Entry credits
- Rachel Flynn, Business Director, Total Media
- Ella Britton, Strategy Director, Total Media
- Maria Eagling , Marketing Director EMEA, Epson
- Lucy Brackett, Consumer Marketing Manager, Epson
- Jane Walker, Head of Marketing Services, Epson
- Dennis Langdon, Senior Marcomms Associate, Epson
- Kim Smith, Senior Marcomms Associate, Epson
- Charlene Wilmore, Senior Marcomms Associate, Epson
- Adam Bodfish, Executive Creative Director, McCann Birmingham
- Jasper Rehder, Strategy, McCann Birmingham
- Duncan Bancroft , Creative, McCann Birmingham
- Leon Deeming, Creative, McCann Birmingham
- Hannah Dale, Agency Producer, McCann Birmingham
- Tony Holmes, Managing Partner, McCann Birmingham
- Charlotte Manns, Account Director, McCann Birmingham
Entry video
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Company
Tin Man
Client
Cadbury Fingers
Summary
‘The fear of missing out’ or FOMO, is a jokey phrase and used so much it now appears in the Oxford English dictionary. However, for the deaf community, it’s no laughing matter.
The frustration of missing out on conversations and human connections for this community is their daily reality.
Cadbury Fingers’ new ATL campaign called ‘Sign with Fingers Big and Small’, in partnership with the National Deaf Children’s Society, encouraged the nation to learn some British Sign Language to help include the deaf community in more precious shared moments. Our job was to amplify it through earned media.
We wanted to create FOMO amongst the hearing community and used a blend of popular culture and purpose to do so.
Consulting throughout with a team of deaf advisors, we teamed up with the biggest deaf TV star of the moment – Tasha Ghouri fresh from Love Island– and dropped some hotly anticipated relationship secrets to her followers on social.
The twist? The secrets were released using only BSL with subtitles subtly obscured, creating a rush of FOMO and frustration amongst her followers. Our ‘tease and reveal’ strategy was planned with military precision and as the angry comments rolled in, we watched our audience experience proper exclusion, just like deaf people experience before revealing the true purpose of the campaign.
Cue blanket coverage, 5.5million organic content views, a 20% increase in awareness of the brand purpose. And 53% of Brits would now consider learning BSL for the purposes of inclusion.
Entry image
Entry credits
- Natalie Neave, Partner, Tin Man
Entry video
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Company
MadeBrave
Client
First Bus
Summary
Bus travel has been on a slow decline for decades
Hitting new lows during the pandemic, First Bus, Scotland’s largest bus provider, sought to try and reverse the downward trend in bus usage and improve the increasingly negative perceptions of bus travel.
They challenged us to create a campaign to tackle this attitude and behaviour, and encourage Scotland to see bus travel as a handy transport option once again.
Our solution — CarFree — played cars at their own game, and boosted brand awareness, purchase intent and sales far beyond First Bus’s expectations.
Plus, it made thousands of people talk, laugh, and park their bums back on bus seats.
Entry image
Entry credits
- Steven Hadden, ECD, MadeBrave
- Brian McKay, Copywriter, MadeBrave
- Stu Lonsdale, Art Director, MadeBrave
- Emma Strain, GAD, MadeBrave
- Emma Stewart, Designer, MadeBrave
- Al Sakickas, Strategist, MadeBrave
- Emma Houston, Head of Comms Planning, MadeBrave
- Nathan White, Comms Planner, MadeBrave
- Carol ORiordan, Account Manager, MadeBrave
- Ewan Fletcher, Director, MadeBrave
- Lars Myrvang, Editor, MadeBrave
- Linsey Romano, Producer, MadeBrave
- Emer Ross, Junior Producer, MadeBrave
- Fraser Ireland, Senior Project Manager, MadeBrave
Entry video
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Company
Quantum
Client
Campari Group UK
Summary
With a brand philosophy of spontaneity, limitless optimism and Italian sociability, the pandemic presented a plethora of challenges for the Aperol Spritz with the absence of bars and halt to international travel. To recruit new drinkers, as well as re-recruit lapsed drinkers that may not have had a well made Aperol Spritz in over two years, our objectives were to drive trial at scale, increase visibility & consumer engagement, and improve bartender advocacy.
Through our takeovers of outdoor terrace spaces across the UK, Piazza Aperol became our central theme to capture the hearts and minds of our drinkers, placing Aperol Spritz centre stage as the first drink of the evening. We brought an authentic Italian piazza to the UK by creating an immersive brand experience, connecting consumers to Aperol Spritz with expertly poured serves at the bar, instagrammable branded setups, ad-hoc summer social events featuring DJs, and brand ambassador sampling throughout.
With our outdoor activations achieving admirable results in reach and consumer sentiment, we overlaid additional omni-channel campaigns that reached beyond venues and further spread the reach of Aperol’s orange wave. Our supporting campaigns drove mass trials of the Aperol Spritz in bars across the country, provided an instant escape to Italy at home with a chart topping retail promotion, and inspired bartenders across the UK to make the perfect Aperol Spritz every time with an immersive staff advocacy and training programme.
Entry image
Entry credits
- Crispin Stephens, Channel & Customer Marketing Director, Campari Group UK
- Stuart Ayre, Marketing Manager, Campari Group UK
Entry video
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5
Finance
Description
Any campaign or strategy for any financial services including insurance, banking, accountancy, engineering etc.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
CHS
Client
HSBC UK
Summary
HSBC were keen to open up the possibilities of investing to more people.With investment portfolios now much easier to set up and use, the opportunities to reach a wider audience provided an exciting and fun challenge while fulfilling HSBC UKs ambitions to grow the wealth of customers through investments.
Although many people acknowledge that investing is a sensible, and potentially profitable venture, they put it off - assuming it will be complicated, time-consuming and expensive. But HSBC investment portfolios are quick and easy to set up. So actually, the hardest part is convincing yourself to get started.
The campaign focused on the in-between moments in our lives when we all have a little time to kill - waiting for the washing to finish its spin, or counting the minutes until your baby falls asleep. Precious periods like these perfectly highlight the many opportunities to get started with investing.
Despite our budget being cut part-way through the campaign, we achieved sales 64% above our target.
And platforms that were used for the first time for the product, TikTok and Chatbots, performed well above their target too. All supported by some impressive results from BAU channels, display and Meta.
Entry image
Entry credits
- Chris Southgate, Managing Director, CHS
- Rachel Burke, Senior Account Manager, CHS
- Sheridan Hurst, Deputy Creative Director, CHS
- Tom Morgan, Creative Director, CHS
- Mike Brooking, Senior Creative, CHS
- Sophia Wareham, Senior Creative, CHS
- Mike Guppy, Creative Lead, CHS
- Damion Poulter, Artworker, CHS
- Andy McHardy, Animator and Video Editorr, CHS
- Adam Finn, Video Editor, CHS
- Zineb Massaoui, Planner, CHS
- Sam Barbrooke, Head of Film, CHS
- Maggie Thompson, Assistant Producer, CHS
- Ella Melvin, Props Manager, CHS
- Alex Templeman, Digital Acquisition Marketing Manager, HSBC UK
- Ruchi Mehra, Senior Digital Acquisition Manager, CHS
- Jess Sian Woodland, Assistant Marketing Manager, HSBC UK
- Alex Whyte, Digital Channel Manager, HSBC UK
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Company
Loud Mouth Media
Client
The AA Ireland
Summary
When it comes to our work with The AA Ireland, Loud Mouth Media have always ‘insured’ they see the sustainable growth they want in the Republic of Ireland for their Travel Insurance product… award-winning growth at that! The AA are already such a globally dominant brand with strong roots in the Finance sector, so to generate digital growth across their Travel Insurance product, it was due to the fierce determination and technical PPC excellence of our digital performance team:
“Responsive, open to changes, knowledgeable and proactive.” (The AA Ireland)
We didn’t just sit back on our sun loungers and wait for travel search volumes to do the work. We actively sought new opportunities for growth like a Summer Backpacker Insurance campaign and influenced a 366% (YoY) Increase in leads. A sign of the extra mile we push at every step of our work.
We’re a small team with big ambition, and our partnership with The AA Ireland has proven we can stand by our expertise – award-winning expertise worthy of Best Finance Campaign.
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Entry video
Entry credits
- Chloe Patterson, Senior Account Manager, Loud Mouth Media
- Chris Foster, Head of Performance, Loud Mouth Media
- Mark McColgan, Head of Client Services, Loud Mouth Media
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Company
Third City
Client
Starling Bank
Summary
As the only UK bank founded by a woman, Starling knows only too well what it’s like to challenge a traditionally male-dominated industry. With the UEFA Women’s EUROs approaching, we needed a campaign to support the bank’s sponsorship of the tournament that brought together football with Starling’s heartland of money. So we created the first ever fantasy football game for the Women’s EUROs, and with almost 200 media hits, 4,000 players and a huge boost to brand awareness, we hit our goals and beyond.
Entry image
Entry credits
- Graz Belli, Co-founder, Third City
- Henry Warrington, Creative Director, Third City
- Kate Mallett, Associate Director, Third City
- Alexandra Frean, Chief Corporate Affairs Officer, Starling Bank
- Lucy Cafferkey, Head of Consumer PR, Starling Bank
- Sonia Rehill, Head of Consumer PR, Starling Bank
- Grace Wilson, Senior PR Manager, Starling Bank
- Conor Knight, Designer, Starling Bank
- Mark Day, Art Director, Starling Bank
- Annabel Herrick, Copywriter, Starling Bank
- Ellie Cross, Brand Marketing Manager, Starling Bank
- Lily Edwards, Senior Social Media Manager, Starling Bank
- Elita Falkvard, Web Lead, Starling Bank
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Company
Havas CX helia
Client
Lloyds Banking Group
Summary
Halifax's ambition is to move from a product-centric to a customer-centric approach. That's why we wanted to build customer engagement above and beyond simple product relationships. We planned to do so by getting customers to see their bank as a genuinely useful partner, rather than simply a financial services provider.
Research revealed the shocking fact that 47% of UK adults lack confidence in managing their money, so we devised an integrated comms experience around the key moments in our customers' financial lives – where taking action could improve outcomes. We applied insight and personalisation to make every communication genuinely helpful, informative, and inspirational to the individual receiving it. And we called our campaign 'On the Money'.
Our task was to design a customer experience through 1-2-1 channels: a programme that worked to build individual customer confidence through personalised insights and recommendations. Key features include a monthly Payday Eve email that helps customers take regular stock of their finances, while New Year and Mid-Year playbacks identify personalised financial opportunities based on recent behaviour patterns.
The Results
The average CTD rate for these emails was almost 3x the Lloyds Banking Group benchmark, with average customer dwell time post-click more than double the benchmark. What's more, customers took meaningful actions after these communications. And they told us that the programme makes them feel more favourably towards the brand. Establishing, once and for all, the value of customer engagement for the group, with further campaigns now in development.
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Entry credits
- Ben Knight, Executive Creative Director, Havas CX helia
- Claire Hutchinson, Account Director, Havas CX helia
- Jon McWee, Experience Lead, Havas CX helia
- Laura Burnell, Senior Account Manager, Havas CX helia
- Nadia Mkinsi, Senior Planner, Havas CX helia
- Ben Matthews, Planning Director, Havas CX helia
- Tim Bax, Head of Copy, Havas CX helia
- James Casey, Client Partner, Havas CX helia
- Tony Weller, Senior Copywriter, Havas CX helia
- Ashley Kursey, Midweight Designer, Havas CX helia
- Alex Barnett, Midweight Designer, Havas CX helia
- Rosalind Hadley, Midweight Copywriter, Havas CX helia
- Lynne Smith, Proofreader, Havas CX helia
- Sarah Betteridge, Senior Marketing Manager, Lloyds Banking Group
- Libby Anderson, Assistant Content Manager, Lloyds Banking Group
- Harriet Saralis, Content Manager, Lloyds Banking Group
- Alana Abrahams, Assistant Content Manager, Lloyds Banking Group
- Chris Davis-Coward, Head of Engagement & Value Generation – Consumer Relationships, Lloyds Banking Group
- Carly Sullivan, Planning Manager, Lloyds Banking Group
- Dan Mogg, Senior Marketing Manager, Lloyds Banking Group
- Jas Kaur, Content Manager, Lloyds Banking Group
- Sophie Perkins, Assistant Content Manager, Lloyds Banking Group
- Ellie Johnson, Assistant Content Manager, Lloyds Banking Group
- Alex Collyer, Planning Manager, Lloyds Banking Group
- Sam Bennet, Assistant Content Manager, Lloyds Banking Group
- Holly Vallerius, Assistant Planning Manager, Lloyds Banking Group
- Yasmin Carpenter, Assistant Content Manager, Lloyds Banking Group
- Nick Baker, Lead Strategist, Stick & Twist
- Anna Laird, Strategy Partner, Stick & Twist
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Company
ABI/PLSA (with Teamspirit)
Client
The Association of British Insurers (ABI) and the Pensions and Lifetime Savings Association (PLSA)
Summary
Everyone craves a happy retirement, free from hardship. Yet Britons still take no interest in their best hope of achieving this – their pension. Despite £billions spent by the Government and pensions providers in countless campaigns over time, people responded with lethargy and inaction. Until now.
In 2022 the industry trade bodies representing the UK’s pensions providers briefed us to address a critical social problem – and motivate consumers to engage with their pensions. But with a budget fractional of that needed to create nationwide change.
Clearly traditional financial campaigning wasn’t getting through. So, instead our strategy turned to the unexpected, the engaging and the entertaining.
Replacing industry spokespeople of the past – and overcome historic ‘disinterest’ - we instead commissioned grime rapper and TV chef, Big Zuu, to write and film an attention-grabbing music track on pensions in a campaign that challenged financial services norms and urged people to ‘Pay Your Pension Some Attention’.
Engaging new content fired up a newly receptive media, allowing us to engage with old and new audiences at a fraction of the £millions the campaign should have cost. On social we went viral, shared by million. The Big Zuu film featured on the 6 o’clock news and the now-hungry media gave it free coverage across countless broadcast, national and trade media.
Results exceeded all expectations. A paid-for budget of just £180,000 combined with an innovative strategy to drive awareness of 12.7m, with 91% of those who saw the campaign subsequently engaging with their pension.
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Entry video
Entry credits
- Mark Smith, Head of Media Relations, Pensions and Lifetime Savings Association
- Stephanie Kenyon, Assistant Director, Association of British Insurers
- Hetty Hughes, Manager, Association of British Insurers
- Chris Blackwood, Assistant Director, Head of Campaigns & Marketing, Association of British Insurers
- Joe Dabrowski, Deputy Director of Policy , Pensions and Lifestime Savings Association
- James Maxwell, Executive Creative Director, Teamspirit
- Spencer Davies, Creative Director, Teamspirit
- Montserrat Tojeiro, Managing Director, Teamspirit
- Megan Marshall, Client Services Director, Teamspirit
- Elinor Griffiths, Senior Account Director, Teamspirit
- Sophie Sheard, Account Manager, Teamspirit
- Ursula Delaney, PR Director, Teamspirit
- Kathryn Cleaver, Senior Account Director, Teamspirit
- Harry Evans, Account Director, VCCP Media
- Tara Marus, Joint CEO, VCCP Media
- Maxine Denton, Producer, Girl&Bear
- Crafty 893, Music Producer, n/a
- Keith Gubbins, DOP, n/a
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2
Sports
Description
A campaign or strategy for any sports organisation
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
RFU x MATTA
Client
RFU
Summary
The RFU set out to give the Red Roses team the status it deserved. Whilst the Red Roses broke records on the pitch, the campaign looked to break records off it. With two record attendances during the Six Nations, and awareness to match the England Men in the Autumn, the campaign did exactly that.
This truly integrated campaign, fuelled by insight, set out to maximise on the biggest year in women’s rugby. The activity re-positioned the Red Roses as a group of truly world-class athletes with incredible skills and remarkable personalities, that the nation would want to get behind.
Not only did the campaign smash benchmarks for awareness and engagement, it got legions of fans out of bed early to watch the team’s World Cup matches. Whether at watch parties in rugby clubs or fans in pyjamas at home: 1.8 million people in the UK watched the Final at 6.30am.
Entry image
Entry video
Entry credits
- Matt Hunt, Executive Brand & Strategy Director, MATTA
- Pete Gomori, Creative Director, MATTA
- Paul Mitcheson, Brand & Strategy Director, MATTA
- Tom Winfield, Production Director, MATTA
- Dean Farrow, Senior Creative, MATTA
- Aidan Shields, Creative, MATTA
- Flo Williams, Integrated Producer, MATTA
- Ewan Turney, Marketing Director, RFU
- Ed Curran, Brand Lead, RFU
- Sally Sheppard, Senior Campaigns Manager, RFU
- Matt Farnes, Women’s Rugby Marketing Manager, RFU
- JAK the Duo, Production Directors, Knucklehead
- Ore Okenedo, Executive Producer, Knucklehead
- Adam Singodia, Director of Photography, C/O Knucklehead
- Andre Rodrigues, Editor, The Assembley Rooms
- Alexandre Nerzic, Colourist, Tag Collective Arts
- Marcus Smith, Sound Design & Mix, Tag Collective Arts
- Rebekah Ellen Fitch, Composer, C/O Knucklehead
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Company
Cicero & Bernay Communication Consultancy
Client
World Padel Tour Modon Abu Dhabi Master
Summary
The team behind the World Padel Tour Abu Dhabi Master 2023 event had a clear objective in mind: increase awareness of the tournament and drive ticket sales using a multi-faceted approach that included digital marketing, social media engagement, and public relations strategies.
The hard work paid off in spades, with expectation exceeding results. The tournament attracted over 8,700 attendees from all over the world, and generated over $2.5 million in editorial value, with an estimated 2 billion impressions made through digital and PR channels.
In addition, the tournament was broadcast to over 150 countries and received more than 1.7 million online views, which is a testament to the team's success in engaging a global audience. The team's PR campaign generated over 600 press coverage clippings, and the tournament was covered by 80 unique media outlets, with dozens of journalists and influencers in attendance.
The digital campaign also proved to be a huge success, with over 27 million impressions made, a total reach of over 5 million, and similar social media engagement. The team was able to achieve a 126% growth in social media followers within a six-week period, with an impressive engagement rate of 5%+.
The team's advertising and boosted content on social media and Google generated over 1,000 orders, while the event's webpage received high pageviews and successfully attracted a diverse audience.
Overall, success was a testament to the team’s effort and dedication. The results they achieved are worthy of recognition.
Entry image
Entry video
Entry credits
- Bahaa Merheb, Director of special Projects, Cicero & Bernay Communication Consultancy
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4
Culture
Description
This category will reward effective campaigns in the culture sector, e.g theatre, literature, music
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Tin Man
Client
Creative Content UK
Summary
Oooh a cheeky download link to the film or TV series everyone’s been talking about… Better forward that to a few friends…what’s the issue?
Well, those cheeky freebie links cost the creative industries millions every year and put people out of jobs.
Online piracy has been on the rise for years. And post covid, with people cancelling their entertainment subscriptions – not to mention the looming cost of living crisis – pirating movies, TV and music was due to skyrocket even further.
And unfortunately it has… Except amongst 16-24 year olds who’ve seen our Get it Right From A Genuine Site campaign. Against a backdrop of piracy rising 6-10% amongst all age groups, among 16-24s who’ve seen our campaign, piracy decreased by 5%.
How did we do it?
Strategically working with high value, authentic influencers (hello Stefflon Don and Jack Joseph) to produce content with just the right amount of tongue-in-cheek. We put a laser like focus on audience targeting, accurately tested the messaging and managed our paid media strategy like a dream.
The result? A best-in-class, behaviour change campaign. Boom.
Entry image
Entry video
Entry credits
- NA NA, NA, NA
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Company
Taylor Herring
Client
NOW and Sky
Summary
Few fanbases are as passionate and devoted as the Game of Thrones community. Everyday thousands of ‘thronies’ meet in discussion forums, dress up for conventions, scrutinise scenes from the series, vigorously debate all that has happened and - more thrillingly - what might happen next.
To build excitement for the release of House of The Dragon, the hotly anticipated prequel to Game of Thrones on streaming service NOW and Sky NOW TV, we wanted to send superfans into a frenzy. Game of Thrones vloggers, bloggers and sleuths have considerable influence and reach - if you excite them, you excite A LOT more people. So, we put our heads together to imagine the ultimate ‘thronie’ experience… Why not reward them by inviting them to be the first in the world to sit on the ultimate seat of power, Aegon Targaryen’s Iron Throne, and feel what ruling the kingdom Westeros is like? So, that’s exactly what we did in the most thematically fitting (and probably the most executionally challenging) place we could think of - the Tower of London.
The results were the stuff of fantasy (sorry!). The Tower of London activation and subsequent nationwide tour drove 230+ earned articles, plus live broadcasts on Sky News and ITV’s Good Morning Britain. Throne tickets sold out in 24 hours and the tour had roughly 240,000 visitors. Meanwhile, influencer content had a combined reach of 3.4 million and social posts netted 1.3 million impressions as well as over 4,000 engagements.
Entry image
Entry video
Entry credits
- James Herring, CEO, Taylor Herring
- Sam Corry, Senior Director , Taylor Herring
- Liam Simpson, Head of Production, Taylor Herring & St Marks Studios
- Alex Butler, Account Director, Taylor Herring
- Jamie Schwartz, Director of Marketing & Merchandising , NOW TV
- Claire Barson, Brand Communications Controller, NOW TV
- Scarlett Such, Senior PR Manager, NOW TV
- Chanelle Shibata, Senior PR Manager, NOW TV
- Orla ONeil, PR Executive , NOW TV
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Company
Altair Media
Client
Royal Opera House
Summary
For years the Royal Opera House has delivered world class opera and ballet to core audiences in London. In late 2022 and early 2023 we created an opportunity with our strategy to develop new audiences and deployed an incredibly exciting campaign to achieve this.
Our goal was to break long-standing perceptions of opera and ballet. To do this we needed to change perceptions as well as reach outside of London, bringing the artforms to new audiences across the nation. Establishing an emotional connection was key and we needed to drive a strong dwell time to achieve this, whilst also building the Royal Opera House’s story through frequency.
Our research informed us that cut through would be more prominent if more than three senses are activated meaning we needed a campaign that triggered sight, sound, feel, taste and even smell! Therefore, we implemented a multi-sensory, diverse channel campaign.
Overall, the Royal Opera House ended 2022 and began 2023 in a position more commercially favourable than the overall arts and culture market. Audiences attending our experiential out of home execution would have filled the Royal Opera House 6.11 times over and we raised the heart rates of our viewing audiences by 41%. Our radio partnerships drove incredible added value and brought audiences even closer to the Royal Opera House with interaction and competitions. AV activity has given an even more national reach and allowed us to immerse audiences into the world of the Royal Opera House.
Entry image
Entry video
Entry credits
- Lyndsey Best, Director, Altair Media
- Abbie Toynton, Senior Planning Manager: Paid Social, Altair Media
- Riyanna Limbachia, Trading Specialist, Altair Media
- Jack Young, Senior Planning Manager: Commercial and Insights, Altair Media
- Ella Lewis-Collins, Head of Marketing Campaigns, Royal Opera House
- Elizabeth Morrison, Senior Marketing Manager, Royal Opera House
- Jon Carson, Partner, Immerse Agency
- Alistair Munro, Partner, Immerse Agency
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Company
Mermade
Client
The Booker Prize Foundation
Summary
The Booker Prize Foundation has a long history of working with well known actors and institutions such as the Royal Shakespeare Company to bring the Booker Prize shortlisted books to life each year in video form, primarily for use within the winner ceremony, and secondarily for publication across the Booker Prizes social channels
The Booker Prize Foundation were looking to reinvent their approach for the shortlist films in 2022, to make them more editorially impactful, and to support the Booker Prizes recent transformation into a year round digital content publisher.
The Booker Prize Foundation approached Mermade to pitch a creative vision for these films, and we saw the potential to create impactful, social-first films that could spread awareness of the shortlisted books and grow the Booker Prizes online accounts.
Working to an incredibly tight schedule (there is only a five week gap between the shortlist being announced and the winner ceremony) we assigned each of the six shortlisted books to a performer - and one popstar - who each interpreted their allotted book via two short extracts. Performers were cast to support the diversity of voice present in each book, and director Kevin Thomas captured each in a beautiful and stark black and white photography.
The result was a really high level of engagement around these books especially on social platforms (Insta, TikTok and Twitter) where they enjoyed combined views of 1,421,800. To put this in perspective, the previous year’s equivalent films attracted a cross-platform total of 118,317.
Entry image
Entry video
Entry credits
- Joshua Buckingham, Managing Director, Mermade
- Kevin Thomas, Director, Mermade
- Nikki Isbell, Line Producer, Mermade
- Melisa Newbury, Line Producer, Mermade
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4
Public Sector
Description
For a campaign or strategy for any public sector organisation, service, government body, or individual project.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Net Natives
Client
Anglia Ruskin University
Summary
To support ARU's new campus launching in a higher education coldspot, Net Natives developed ARU's existing strapline 'Amplify’ into a recruitment campaign and striking visual treatment.
Evolution not revolution, but with maximum effect was the goal, so as not to alienate those who had already made a connection with ARU, whilst reinvigorating their perceptions, and making connections with a brand new audience during the Clearing period.
With a video at the centre of the campaign, the tactics varied across social media, cinema, TV (Love Island), out-of-home and more, focusing on mostly digital platforms to align with ARU's sustainability pledge.
Through true stories, a diverse and somewhat disconnected audience would feel uplifted and empowered to boost their prospects.
The results:
ARU as a whole saw a huge uplift in applications (+20% year on year) as well as registrations (+7% year on year) and their new campus was given the healthy number of applications it needed for a successful opening year.
Site traffic increased by 91%, surpassing ARU’s goal.
Conversion rate from all conversions (apply clicks and clicks to call) to applications: 17.97%.
The university buy-in on the project far exceeded previous years and with a strong visual identity, ARU cemented their place in prospects’ minds as a potential option far in advance of results day.
With this buy-in, the budget was lifted through faculty input and a truly omnichannel campaign could be built to penetrate the crowded Clearing market. This ultimately led to the campaign's outstanding performance.
Entry image
Entry video
Entry credits
- Raman Sarpal, Head of Marketing and Brand, ARU
- Charlie Penrose, Creative Director, Net Natives
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Company
Evoke Mind+Matter
Client
Network Rail
Summary
Safety on the railway is based on the behaviour of the people that use it, so in theory accidents should be easily preventable, but most accidents are not the result of conscious irresponsible behaviour.
'Beware the Bubble’ is a public awareness campaign created for Network Rail aimed at reducing the number of personal injuries and accidents befalling passengers by encouraging people to be more present and mindful of their surroundings when using the network.
The campaign has been developed based on insights powered by our creative and one simple, psychological and relatable truth – that we all live our lives in a bit of a bubble ¬– those moments are minds are elsewhere, but sometimes this can lead to injury or harm. This ‘inattentional blindness’ means we see far less of the world than we think, especially when we’re distracted by something and that’s why we all need to ‘Beware the Bubble’.
Entry image
Entry video
Entry credits
- Josie Wolstenholme, Associate Director, Evoke Mind+Matter
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Company
City of Melbourne / By All Means
Client
City of Melbourne
Summary
Melbourne hurt more than most cities during the pandemic with a world record 263 days of hard lockdown. The city suffered, shops closed, businesses folded, and hearts broke.
While the city was still in recovery, City of Melbourne needed to re-earn positive sentiment and increase visitation by actively shifting the media and public narrative away from pandemic challenges, generating positive conversations that went back to celebrating what makes Melbourne, Melbourne.
So much more than an advertising campaign, we created an experience to remind people how great the city is. How creative it is. How alive it is. And how much incredible stuff you can find “only in the city”.
We called it Supermelbourne. An “aboveground underground gathering” designed to light up the darkness. And draw Melburnians, moth-like, back into their city.
We embraced the abandoned shops by taking over three in Howey Place (smack bang in the middle of the city) and turned a dank basement into a vibrant, pulsating display of colour and life and pared it with a dizzying array of the city’s best electronic acts. We teamed Melbourne’s hottest chefs and coolest mixologists, mashed fashion designers with illustrators, and brought people back into the city to re-experience it in their droves.
We reminded people that Melbourne is what Melbourne does.
In the month after the activation, Melburnians visiting the city for leisure peaked at the highest level recorded since before the pandemic at 82%.
Entry image
Entry video
Entry credits
- Louise Scott, Director, Experience Melbourne, City of Melbourne
- Gabrielle Oldaker, Senior Manager, Destination Marketing, City of Melbourne
- Georgina Pownall, Managing Partner, By All Means
- Ed Howley, Creative Partner, By All Means
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Company
VidMob
Client
HIV Ireland
Summary
HIV Ireland, a non-profit organisation focused on supporting people living with HIV and preventing new HIV acquisitions, wanted to expand its outreach to increase awareness of, and access to, its Peer Support Programme and community support services. It partnered with VidMob, the industry-leading Intelligent Creative platform to analyse and optimise its campaign video content for Facebook, Twitter and YouTube.
Leveraging its Creative Analytics tool to maximise the impact of each creative element of campaign video content — such as copy, colours and facial expressions — alongside best practice insights gained from thousands of previous campaigns run through the platform, VidMob planned a series of videos that could maximise the impact of each creative element and help HIV Ireland meet its objectives.
The campaign was a tremendous success, far exceeding the initial objectives. As a result of the work with VidMob, there was a 139 percent increase in people living with HIV participating in HIV Ireland’s Peer Support Programme, surpassing the initial target of 42 percent. Individuals accessing peer support from outside of Dublin increased from six to ten individuals, an increase of 67 percent, and self-referrals to the Peer Support Programme increased by 300 percent in the five weeks the campaign was running.
In addition, 36 donations were made following a cumulative audience reach of 20,239, and website traffic increases on hivireland.ie/peersupport, hivireland.ie/discrimination, and hivireland.ie/donate. The services and platform were offered to HIV Ireland pro bono through the VidMob Gives foundation.
Entry image
Entry credits
- Rick van de Dood, Freelance Editor, Freelance
- Jonathon O., Freelance Creative Director, Freelance
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5
Travel and Tourism
Description
For a strategy or campaign created for any organisation in the travel and tourism industry.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Tin Man
Client
Virgin Atlantic
Summary
When the biggest non-binary star, Sam Smith, shares and duets with your content THREE TIMES organically, when you land 550+ pieces of global coverage in three days and when you trend across all social media platforms…. you know you’ve made an impact.
But when you genuinely make a difference to both the people who work for the business and its customers… that’s what makes a campaign truly special.
To cement Virgin Atlantic’s position as the most inclusive airline, we listened to our people, ripped up the (Vivienne Westwood designed) uniform rule book and re-wrote its gender identity policy offering its people the option to choose the uniform they identified most with and introduced pronoun badges, gender neutral ticketing systems and inclusivity training for its people.
We announced it to the world with an inclusive, stylised fashion forward ‘runway on a runway’ content campaign, fronted by LGBTQ+ ally Michelle Visage, influencers, trans and non-binary pilots and crew, punchy media relations and a sprinkling of Virgin flair. The results speak for themselves.
Entry image
Entry video
Entry credits
- Elly Kestenbaum, Partner, Tin Man
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Company
Loud Mouth Media
Client
Tourism Northern Ireland
Summary
Travel/Tourism Advertising is all about transporting people to new worlds, sparking joy in audiences and playing to people’s emotions. Our 2022 campaign for Tourism Northern Ireland (TNI) that stimulated bookings in Northern Ireland and Derry did exactly that.
Stimulating engagement from Northern Ireland and Republic of Ireland audiences following covid-19 was tough the world over. People were nervous and struggling to keep up with changing vaccination and travel restrictions; but that opened an enormous opportunity for TNI to capitalise on – the era of the staycation. And what better area to promote that Derry/Londonderry with Season 3 of the popular tv show Derry Girls kicking off.
With a short 6week burst campaign while the show aired, we had to be aggressive and use video activity across YouTube and Facebook/Instagram to maximise reach and engage active audiences. Featuring in videos the locations Derry Girls had been filmed in, upweighting budget for times when the show aired, and using the burst to capture valuable data for future campaigns are only some of the strategic enhancements made. With the tv show being a hit, our expert team were able to drive BIG results, like:
• Over 1.6million impressions on YouTube
• 2.3million impressions on FB/IG
• 1.3million video plays on FB/IG
The show coined: ‘I don’t want to be an individual on my own!’ – and that character, history and beauty of NI came alive in our digital campaigns. What more could you want from a Travel/Tourism campaign?!
Entry image
Entry video
Entry credits
- Rachel Millar, Head of Social Lead Generation, Loud Mouth Media
- Mark McColgan, Head of Client Servies, Loud Mouth Media
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Company
Accomplice
Client
National Rail
Summary
Unwanted sexual behaviour (USB) on the railways is a prevalent and extremely under-reported problem. Not only is it happening much more frequently than we’d think, it’s also common for people not to understand what constitutes unwanted sexual behaviour.
We needed to get all rail users to understand what USB is, why it’s so damaging, and to report it if they see it, through education and by reinforcing just how unacceptable it is. To do that we needed to lift the veil of misunderstanding and uncertainty - making it really clear, what it is and that it’s unacceptable. Behaviour change would be the result of a three step process:
1. Challenge
We need to challenge perpetrators on their behaviour, and get them to stop immediately
2. Educate
a) educate perpetrators that their actions are serious, damaging and criminal.
b) help bystanders and victims know how to recognise USB
3. Drive Awareness
Lastly, we need to ensure all rail users are aware of the issue, and know how to report incidents they witness or experience.
We are proud to report that campaign sparked a huge conversation amongst friends, family and peers both at home and on social channels. USB was pulled into mainstream consciousness and as such we changed the trajectory of this experience, resetting public transport from a place where victim count was high to a place where USB is seen, understood and called out.
Entry image
Entry video
Entry credits
- Ryan Lietaer, Co-Founder and CEO, Accomplice
- Mark Hunter, Co-Founder and CCO, Accomplice
- Julia Taylor, Creative Director, Accomplice
- Adam Brewster, Head of Design, Accomplice
- Alicia Piper, Production & Delivery Lead, Accomplice
- Joe Durow, Account Director, Accomplice
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Company
Mostly Media X AdMaxim
Client
Paignton Zoo
Summary
Mostly Media tasked AdMaxim with increasing footfall to Paignton Zoo throughout summer 2022. To do this AdMaxim worked with Mostly Media to build a range of animated display ads and a rich media creative in the form of a parallax scroller unit. These were delivered to various target audiences to engage with potential customers with the goal of encouraging them to visit the zoo.
Parents with kids, families, and grandparents across Devon and Somerset were targeted through a variety of innovative strategies. One of these consisted of overlaying strict geo-targeting with IAB categories related to family and parenting, traveling with kids, zoos, aquariums, and other tourist attractions to access users who had shown an interest in these categories based on algorithmic contextual analysis. AdMaxim worked with Mostly Media to create bespoke audience segments using AdMaxim’s proprietary data management platform and retargeted users who had visited Paignton Zoo recently to encourage re-visits. Competitor targeting involved targeting locations such as other nearby zoos, theme parks and aquariums in Devon and Somerset. Paignton Zoo were also running out-of-home ads which Mostly Media and AdMaxim worked in partnership to amplify by targeting users who had seen the out-of-home ads with digital ads, driving greater impact of both mediums.
This campaign performed extremely well, achieving a 109% footfall increase (when compared to a control group of the same audience set who were not exposed to the ads), driving over one thousand customers into the zoo after seeing an ad.
Entry credits
- Tom Marshall, Head of Digital, Mostly Media
- Anne Kelly, Head of Sales- South West & Wales, AdMaxim
- Max Ferguson, Senior Digital Campaign Manager, AdMaxim
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Company
Wavemaker UK
Client
P&O Cruises
Summary
Moving into 2022, P&O Cruises had to grow the category and attract ‘newcomers’ to cruising, to fill the increased capacity created by two newly launched ships. Although passionate about travel, ‘newcomers’ were hard to convince on the merits of a cruise holiday; Their purchase journeys were long and complex, they perceived cruise holidays as being non-adventurous and were concerned about feeling trapped, and they didn’t think that ‘people like them’ went on cruise holidays. Challenging perceptions to change.
We set out to convince ‘newcomers’ to think again. To challenge their perceptions and re-evaluate the category.
To help ‘newcomers’ remove the holiday blinkers.
We did this by being irresistible, being unmissable and being consistent. Tweaking every aspect of our comms mix to drive desire, grab attention and create a persistent presence in our audience’s lives.
This came to life through a sponsorship of Adventures on 4 to build the right brand associations, complimented by a passion-point driven content partnership to showcase the full range of experiences P&O Cruises can offer. Geo analysis of postcode data enabled smart delivery of audio, OOH, social and display in regions with high propensity. Whilst budgets were optimised through econometrics before we adjusted the targeting for every element of our plan to perfectly deliver against our ‘newcomer’ audience.
Leaving no stone unturned, we significantly shifted the dial, driving the strongest ‘newcomer’ performance the brand had ever seen: Positive shifts in perception, a significant uplift in interest, and ultimately ‘newcomer’ bookings which exceeded all historical benchmarks.
Entry image
Entry credits
- Andy Collins, Strategy Partner, Wavemaker UK
- Jennifer Manning, Managing Partner, Wavemaker UK
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4
Entertainment
Description
For a strategy or campaign created for any organisation in the entertainment industry.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
M&C Saatchi
Client
Tourism Australia
Summary
When a charismatic toy unicorn with questionable magical abilities (Will Arnett) is accidentally delivered to the wrong gift shop in a strange country, a forgotten Kangaroo souvenir (Rose Byrne) seizes the opportunity to befriend him and escape her dusty shelf to see the sights she’s always dreamt of. Australia is too big a story for an ad, so we burst back onto the global tourism scene post pandemic by launching with a buddy film. ‘G’day’ the movie brings to life the idea that down under (Australia) every great adventure starts with our unique warm welcome and ends in a deeper understanding of the real Australia.
Entry image
Entry video
Entry credits
- Cam Blackley, Chief Creative Officer, M&C Saatchi
- Mandie van der Merwe, Executive Creative Director, M&C Saatchi
- Avish Gordhan, Executive Creative Director, M&C Saatchi
- Sam Dickson, Creative Director , M&C Saatchi
- Cameron Bell, Creative Director, M&C Saatchi
- Chris Cheeseman, Creative Director, M&C Saatchi
- Rosita Rawnsley-Mason, Creative Director, M&C Saatchi
- Andy Flemming, Group Creative Director, M&C Saatchi
- David Govier, Associate Creative Director, M&C Saatchi
- Emily Taylor, Chief Strategy Officer, M&C Saatchi
- Vanessa Graham, Group Strategy Director, M&C Saatchi
- Michael McEwan, CEO, M&C Saatchi
- Vanessa Boyeyres, Managing Partner, M&C Saatchi
- Kura Tyerman-Mikhail, Client Services Director, M&C Saatchi
- Nikki Chapman, Group Account Director, M&C Saatchi
- Blade Griffiths, Account Director, M&C Saatchi
- Loren August, Head of Broadcast, M&C Saatchi
- Christina Wilmot, Senior TV Producer, M&C Saatchi
- Jo Giles, Head of Resource Management, M&C Saatchi
- Michael Gracey, Film Director, FINCH
- Corey Esse, Managing Director, FINCH
- Loren Bradley, Executive Producer, FINCH
- Vivienne Jaspers, Producer, FINCH
- Christopher Nelius, Second Unit Director, FINCH
- Brian Estanislao, Animation Director, FINCH
- Matt Toll, DOP, FINCH
- Ryan Boucher, Editor, The Editors
- Harry Learoyd, Editor Assistant, The Editors
- Amy Andersen, Composer/Producer, Stare Crazy
- Jonathan Dreyfus, Composer/Producer, The Editors
- Phillipa Harrison, Managing Director, Tourism Australia
- Susan Coghill, Chief Marketing Officer, Tourism Australia
- Sarah Gallon, General Manager, Brand, Campaign & Media, Tourism Australia
- Samantha Heckendorf, Global Manager, Brand & Marketing, Tourism Australia
- Thomas McManus, Global Executive, Brand & Marketing, Tourism Australia
- Minta Burn, Head of Advocacy and Production, Tourism Australia
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Company
Taylor Herring
Client
NOW and Sky
Summary
Few fanbases are as passionate and devoted as the Game of Thrones community. Everyday thousands of ‘thronies’ meet in discussion forums, dress up for conventions, scrutinise scenes from the series, vigorously debate all that has happened and - more thrillingly - what might happen next.
To build excitement for the release of House of The Dragon, the hotly anticipated prequel to Game of Thrones on streaming service NOW and Sky NOW TV, we wanted to send superfans into a frenzy. Game of Thrones vloggers, bloggers and sleuths have considerable influence and reach - if you excite them, you excite A LOT more people. So, we put our heads together to imagine the ultimate ‘thronie’ experience… Why not reward them by inviting them to be the first in the world to sit on the ultimate seat of power, Aegon Targaryen’s Iron Throne, and feel what ruling the kingdom Westeros is like? So, that’s exactly what we did in the most thematically fitting (and probably the most executionally challenging) place we could think of - the Tower of London.
The results were the stuff of fantasy (sorry!). The Tower of London activation and subsequent nationwide tour drove 230+ earned articles, plus live broadcasts on Sky News and ITV’s Good Morning Britain. Throne tickets sold out in 24 hours and the tour had roughly 240,000 visitors. Meanwhile, influencer content had a combined reach of 3.4 million and social posts netted 1.3 million impressions as well as over 4,000 engagements.
Entry image
Entry video
Entry credits
- James Herring, CEO, Taylor Herring
- Sam Corry, Senior Director, Taylor Herring
- Liam Simpson, Head of Production, Taylor Herring & St Marks Studios
- Alex Butler, Account Director , Taylor Herring
- Jamie Schwartz, Director of Marketing & Merchandising, NOW TV
- Claire Barson, Brand Communications Controller, NOW TV
- Scarlett Such, Senior PR Manager, NOW TV
- Chanelle Shibata, Senior PR Manager, NOW TV
- Orla ONeil , PR Executive , NOW TV
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Company
OK COOL
Client
Spotify
Summary
How do you inspire a new generation to change their perception of Spotify, from a place of utility, to be the audio platform of choice for Gen Z & youth culture?
OK COOL were tasked with ‘making Spotify cool in the eyes of Gen Z’. Our central focus was building brand love to feel uniquely Spotify, but also to inspire younger audiences to discover and appreciate the playlist pioneers in an authentic, exciting way.
We know that Gen Z are emotionally complex. They use music as a form of personal expression and they're unafraid to put their feels out into the world. In fact, “oversharing” is a key insight into this audience, we tapped into this insight, creating Oddly Specific Feels, a campaign which showed Gen Z how Spotify allows you to build playlists based on mood, not genres. You can create oddly specific Spotify playlists, for oddly specific feelings.
Through repeatable formats on TikTok, we took to owned and creator channels as well as amplifying the campaign on Instagram, Twitter and YouTube… we even dropped an interactive filter on Snapchat. We then developed a nation-wide OOH campaign with the same message, tailoring playlist names to locations.
Spotify saw a 6% uplift in brand love as well as a staggering 55% ad recall and 4% lift in brand relevance with Gen Z. Across all channels, Oddly Specific Feels content reached 86% of Gen Z in the UK and Ireland from 113 million total impressions. Stellar!
Entry image
Entry video
Entry credits
- Lucy Edwards, Senior Marketing Manager, Spotify
- Jade Greene, Social Marketing Coordinator UK&IE, Spotify
- Liz Stone, Co-Founder and Chief Creative Officer, OK COOL
- Jerome Cain, Account Director, OK COOL
- Sophie Jones, Account Manager, OK COOL
- Dani Greenwald, Head of Content Creative, OK COOL
- Jamie-Lee Pepera, Head of Art, OK COOL
- Annie House, Senior Strategist, OK COOL
- Tyn Yu Nuo, Content Creative, OK COOL
- Clarissa Henry, Content Creative, OK COOL
- Dan Taylor, Graphic Designer, OK COOL
- Bonnie Lee, Senior Producer, OK COOL
- Jen Cheema, Content Producer, OK COOL
- Eleni Papachristodulou, Graphic Designer, OK COOL
- Laura Copley, Creative Copywriter, OK COOL
- Daniel Lee, Freelance Copywriter, Freelance
- Morgan Hislop, Freelance Graphic Designer, Freelance
- Zara Truman, Freelance Creative, Freelance
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Company
Sky
Client
Sky Entertainment
Summary
The streaming revolution of the last decade means there’s more TV content, at a cheaper cost, than ever before. Having a major hit show is critical in the battle to gain and retain subscribers.
Sky had a specific business challenge: to recruit an 18-34 audience who favour cheaper, more flexible streaming services.
We had a show to launch which could be a gift. ‘The Last of Us’ was an adaptation of a videogame with an audience that was 62% under 35.
However, looking at the history of failed videogame adaptations, we knew our greatest opportunity to win over the 18-34 fans could end in disaster. We needed to convert fans of the game into advocates, in turn helping spread the show to a wider audience. To do this, we worked closely with them to co-create the campaign.
The campaign re-defined the ‘watercooler moment’ driving an unprecedented volume of talk: 4.14m conversations against a benchmark of 987K for a new Sky drama. The show was a hit, beating the launch of Games of Thrones and saw Sky’s biggest finale audience ever for a debut series.
This case study shows how we won over fans authentically and built their passion to infect mainstream audiences, making The Last of Us one of Sky Atlantic’s most successful launches ever, garnering its highest audience for 18-34s.
Entry image
Entry video
Entry credits
- Olivia Browne, Marketing Director, Sky
- Rachael Fielding, Head of Marketing, Sky
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6
Automotive
Description
For a strategy or campaign created for any organisation working in the automotive and transport industry.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
heycar/Atomic London
Client
heycar
Summary
We developed the creative platform, ‘Hey, buying a car never felt so good’, a platform that tapped into the insight about that feel good feeling you get when you’ve just bought a car. The campaign ‘Feel Good Your Way’ reimagined the hip hop classic ‘Hip Hop Hooray’ to create a highly memorable track using the brand name as the hero piece to grow awareness in TV, radio and social. The platform generated a feel good attitude across the entire customer journey. This included partnerships with Spotify, sponsorship with footballer Jamie Redknapp as well as TV, social, digital and OOH campaigns.
We believe we have pioneered an innovative creative approach to the new and second-hand online car market and car ads in general, bringing excitement, fun and differentiation to the potential audience. Combining colour, action and upbeat sounds in a punchy creative execution delivered the cut-through our client was looking for at a fraction of the budgets of competitors. We definitely turned up the volume to 11 for heycar!
Entry image
Entry video
Entry credits
- Maren Coleman , Brand, heycar
- Tracy Woods, Brand, heycar
- Charlotte Ford , Brand , heycar
- Sandy Tea, Brand, heycar
- Claudia Kampmann, Brand, heycar
- Katy Sumption, Executive Creative Director, Atomic
- Dan Taylor, Account Director, Atomic London
- Madeline Martinez, Producer, Atomic London
- Matt Crump, Creative Director, Atomic London
- Gav Mcready, Creative Director , Atomic London
- Olivia McDaid , Senior Account Manager, Atomic London
- Randell Beckford, Senior Strategist , Atomic London
- J Marlow, Director, Outsider Productions
- Steve Elgar, Producer , Outsider Production
- Simon Chaudoir, Director of Photography, Outsider Production
- Loty Ray, Head of Design, Atomic London
- Andrew Poole, Senior Video Editor , Atomic London
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Company
VMLY&R
Client
Ford of Britain
Summary
Construction is the UK’s deadliest industry, losing on average 2 workers every working day. Not to the dangers of the job, but to suicide.
While every measure is taken to prevent physical harm, there’s no equivalent to safeguard the workers from the dangers of stress and depression.
Ford are the market leader to this industry, not because of share of volume, but because of the reliability of its brand and its vehicles. This crisis called for a different type of reliability that maintains Ford’s connection and leadership position within the industry, from small 1 van operators to massive 5000 vehicle fleet owners.
So Ford created the Higher Vis Vest, a new safety vest designed to increase the visibility of mental health and recognise both the physical and emotional vulnerabilities of workers.
The vest was designed to get men talking and provide a 24-hour confidential helpline number giving immediate access to support.
Ford then partnered with the Lighthouse Club, a national charity dedicated to the mental wellbeing of workers and introduced the vest and Make It Visible program to sites across the country.
Make It Visible is now the national wellbeing program adopted by over 800 trade organisations and support groups across the UK and Ireland. The initiative is ongoing.
Entry image
Entry credits
- Julian Watt, Chief Creative Officer WPP Ford, VMLY&R
- Brian Riley, Creative Director, VMLY&R
- Matt Lee, Creative Director, VMLY&R
- Dominic Moore, Managing Director, VMLY&R
- Alison Hennessy, Senior Account Director, VMLY&R
- Alfred Leroy, Senior Account Manager, VMLY&R
- Emily Tomlinson, Art Director, VMLY&R
- Mark Doyle, Creative Operations Director, VMLY&R
- Pete Mould, Designer, VMLY&R
- Nicole Masters, Planning Director, VMLY&R
- Kelli Nelson, Business Director, VMLY&R
- Dan Smith, Senior Designer, Makerhouse
- Gary Bridge, Project Manager, Makerhouse
- Ant Delaney, Managing Director, Makerhouse
- Richard Last, Executive Creative Director, Makerhouse
- Adam Booker, Design Director, Makerhouse
- Dan Smith, Lead Creative Designer, Makerhouse
- Sonia Chan, Designer, Makerhouse
- Jose Diaz, Designer, Makerhouse
- Mirko Nardecchia, Motion Designer, Makerhouse
- Rebecca Harding, Retoucher, Makerhouse
- Tim Clifford, Director (shoot), Makerhouse
- Melissa Eaton, Producer (shoot), Makerhouse
- Eleanor Cooper, Production Coordinator (shoot), Makerhouse
- Loren Colson, Executive Producer (shoot), Makerhouse
- Claire Killwick, Head of Customer Marketing Ford of Britain and Ireland, Ford of Europe
- Howard Kee, Manager, Communications & Events, Ford of Britain and Ireland, Ford of Europe
- Donna Pearce, Marketing Communications Specialist , Ford of Europe
- Rebecca Thorp, Marketing Communications Specialist , Ford of Europe
- Bill Hill, CEO, Lighthouse
- Olympia Brightley-Hodges, Tour Manager, Lighthouse
- Sarah Bolton, Director of charitable services , Lighthouse
- Michelle Finnerty, Marketing Manager, Lighthouse
- Rob Muldoon, Ambassador , Lighthouse
- Andy Stevens, Ambassador , Lighthouse
- Lee Anderson, Ambassador , Lighthouse
- Justin Manley, Ambassador , Lighthouse
- Andy Bishop, Ambassador , Lighthouse
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Company
MadeBrave
Client
First Bus
Summary
Bus travel has been on a slow decline for decades
Hitting new lows during the pandemic, First Bus, Scotland’s largest bus provider, sought to try and reverse the downward trend in bus usage and improve the increasingly negative perceptions of bus travel.
They challenged us to create a campaign to tackle this attitude and behaviour, and encourage Scotland to see bus travel as a handy transport option once again.
Our solution — CarFree — played cars at their own game, and boosted brand awareness, purchase intent and sales far beyond First Bus’s expectations.
Plus, it made thousands of people talk, laugh, and park their bums back on bus seats.
Entry image
Entry video
Entry credits
- Steven Hadden, ECD, MadeBrave
- Brian McKay, Copywriter, MadeBrave
- Stu Lonsdale, Art Director, MadeBrave
- Emma Strain, GAD, MadeBrave
- Emma Stewart, Designer, MadeBrave
- Al Sakickas, Strategist, MadeBrave
- Emma Houston, Head of Comms Planning, MadeBrave
- Nathan White, Comms Planner, MadeBrave
- Carol ORiordan, Account Manager, MadeBrave
- Ewan Fletcher, Director, MadeBrave
- Lars Myrvang, Editor, MadeBrave
- Linsey Romano, Producer, MadeBrave
- Emer Ross, Junior Producer, MadeBrave
- Fraser Ireland, Senior Project Manager, MadeBrave
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Company
OTW
Client
Volvo Trucks
Summary
“A communication campaign so strong that truck drivers will want to tattoo the Volvo Trucks iron mark on their upper arm.”
Voilà – the initial brief that led to the Volvo Trucking Adventure communication concept. Volvo Trucks needed a campaign that would engage and resonate with the truck driver community and build brand preference over time. After a global recruitment campaign in Volvo Trucks social channels, Polish driver and influencer Iwona Blecharczyk was selected as the lucky winner. Her prize was to enjoy a magical trucking adventure all the way from Gothenburg, Sweden to the northernmost point of Europe’s mainland, the North Cape, Norway. A journey of more than 2,000 kilometres with a clear mission: to engage truck drivers from all over the globe.
The idea behind Volvo Trucking Adventure saw daylight by the end of 2021 and the global campaign was rolled out in June 2022, with the major publication of content in December 2022/January 2023. For over a year, the joint client/agency team behind the campaign worked hard to pull all the pieces together, not to mention a two week-long film production and road trip. The results? A concept so strong it way surpassed expectations – on every level.
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Entry video
Entry credits
- Olivia Krantz, Agency Director, OTW
- Rasmus Winther, Creative Director, OTW
- Niklas Jendeby, Account Director, OTW
- Eric Andréasson, Film Producer, OTW
- Olle Garp, Film Producer, OTW
- Karin Andersson, Project Manager, OTW
- Jens Dohnberg, Film Editor, OTW
- Jonas Andréen, Film Editor, OTW
- Daniel Nilsson, Colorist, OTW
- Lene Larsen, Marketing Communications Manager, Volvo Trucks
- Maria Holst, Director Marketing Communication and Activation, Volvo Trucks
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Company
RocketMill
Client
ZenAuto
Summary
ZenAuto’s ambition was to challenge the traditional norms and behaviours of the car leasing category with an offering more aligned to the demands of modern, digital consumers. Compared to the old way of leasing a car, the Zen Way is a whole new proposition - 100% online, more flexible, more affordable and altogether more convenient.
Our mission was to shake up the market with a fresh brand idea, bringing it to life with a killer creative concept, and nailing the digital strategy and execution to boost brand recognition in a cluttered market.
We smashed our targets by increasing the share of search by 5pp, and delivering 100% of our order target for the quarter.
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Entry video
Entry credits
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Company
LNER / M&C Saatchi
Client
London North Eastern Railway
Summary
COVID was tough on rail and although LNER led the industry in terms of pandemic recovery, there was still work to do.
In April 2022, journey numbers were 83% of pre-pandemic figures which set a clear goal: recover the lost 17%.
We developed a three-fold strategy to tackle the biggest challenges to winning back our elusive 17%.
Reawaken sleepwalking drivers
Those who’d reverted to car as their default during Covid and hadn’t since questioned whether driving was their best choice, we named ‘sleepwalking drivers’. To reawaken them, we opted to make cars the enemy and used dynamic OOH to show in real-time how much quicker their journey would be with LNER.
Post-covid connection
Leaving behind the rational messaging of Covid, we shifted toward building emotional connections and the feeling that ‘LNER is a brand that gets me’. We uncovered human truths to showcase benefits of travelling LNER, updating messaging and tone across assets to increase emotional connection.
Getting savvy during the cost-of-living crisis
With everyone's finances getting pinched, we needed to make train travel feel achievable. We built a campaign which highlighted how to get the best value train tickets with a hero message around advance booking to get 51% lower prices which resulted in earlier booking behaviours.
Despite rail strikes making for another tough year, we’ve not only matched, but are now 1% ahead of pre-covid journey numbers, with 290,000 additional journeys. Across the brand funnel we’re breaking records with results 10% higher on average than last year.
Entry image
LNER Drum 2023.pdf
Entry credits
- John Galloway, Head Of Marketing, LNER
- Laura Broadbent, Senior Advertising & Partnerships Mgr, LNER
- Saoirse ORiordan, Digital Campaign Manager, LNER
- Carolyn Welch, Campaign Manager (Offline), LNER
- Ellie Tyrell , Senior Advertising Executive, LNER
- Guy Howland, Senior Creative Director, Merkle
- Jennifer McEnhill, Head of Creative Delivery, Merkle
- Ben Golik, CCO, M&C Saatchi
- Anna Heracleous, Head of Account Management, M&C Saatchi London
- Matt Lee, ECD, M&C Saatchi London
- Tom Kennedy, Creative Director, M&C Saatchi London
- Hannah Thomson, Senior Strategist, M&C Saatchi London
- Adriana Ferran, Strategy Director, M&C Saatchi London
- Evan ODriscoll, Senior Account Director, M&C Saatchi London
- Meg Hugill, Account Manager, M&C Saatchi London
- Harry Patchett, Senior Account Manager, M&C Saatchi London
- Sarang Shah, Advertising Account Manager, Merkle
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2
Fashion and Beauty
Company
Art of the Possible
Client
Laser Clinics
Summary
Art of the Possible have been working with Laser Clinics since the launch of both brands in the UK market in 2019. Laser Clinics is a global leading chain of aesthetic clinics, offering a range of services including Laser Hair Removal, Skin Treatments, and Cosmetic Injectables. As part of their role as creative and strategic agency partner, in December 2022, the agency was briefed to launch a new product for the brand: BodySkulpt. BodySkulpt is a treatment that expedites a fitness journey and encourages a more toned look. Each treatment takes 30minutes and is the equivalent of 50,000 sit ups. It is pain free, non-invasive with no down time, and results can be seen almost immediately. The launch of this product required a careful strategic approach given that Laser Clinics are all about body empowerment, and an impactful creative campaign to achieve success. Art of the Possible was responsible for developing the positioning strategy for the new product, creative concepting, photoshoots, and creation of assets for various digital and print platforms. The agency also executed an Influencer program that included Rowan Row, who has 1.6 million followers on Instagram and 1.9 million on YouTube, to create buzz around the launch. Additionally, the agency delivered all the copy, ads, and launch materials for in-clinic and digital screens. This through the line campaign for BodySkulpt from Laser Clinics was extremely successful. The campaign delivered outstanding results in terms of brand awareness, sales, and engagement, significantly exceeding objectives.
Entry image
Entry video
Entry credits
- Tim Hedges, Creative Director, Art of the Possible
- Faye DeMarco, Head of Operations, Art of the Possible
- Lucy Salter, Chief Magic Officer, Art of the Possible
- Lola Fitzgerald, Social Media Manager, Art of the Possible
- Elodie Giuge, Photographer, Art of the Possible
- Patrick Boyle, Videographer, LOXT
- Julia Rogers, Marketing Director, Laser Clinics UK
- Bella Nuske, Brand and Campaign Manager, Laser Clinics UK
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Company
the7stars, Kinetic
Client
H&M
Summary
OOH has played a leading role for H&M as part of their overarching media strategy, but for Holiday 2022 we needed to use the channel at its most creative to cut through in a hugely cluttered market to drive consideration and purchase across the holiday period.
We did this by bringing the magic of the holiday season to the streets of London through two incredible special installations that delighted shoppers, generated PR and talkability and most importantly shifted more people further down the funnel and increased sales.
Easily the most wonderful (and effective) campaign of the year!
Entry image
Entry video
Entry credits
- NA NA, NA, NA
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5
Food and Beverage
Description
For a strategy or campaign created for any organisation in the food and beverage industry.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
mSix&Partners
Client
Britvic & Tango
Summary
This is the story of how Tango, mSix and LADBible took on the might of the world’s biggest soft drinks company and won with a budget of just £230k. Delivering a cost per person reached of just 1p and engaging British Youth audiences by tapping into Gen Z’s love of parody and irreverent humour.
To deliver this we used the power of our partners to speak to Gen Z in their own language – literally – harnessing the power of the peach emoji to overcome Tango’s “Dad Brand” reputation with our Gen Z audience and in doing so helping Tango to sell more Berry Peachy than any other new UK soft drink developed in 2022.
Entry image
Entry credits
- Millie Barrow, Planning Director , mSix&Partners
- Joseph Kidd, Strategy Director , mSix&Partners
- Ahmed Benissad, Digital Lead, mSix&Partners
- Josie Naghten, Paid Social Account Manager, mSix&Partners
- Jess Rowe, Digital Apprentice, mSix&Partners
- Victoria Burridge, Brand Manager, Britvic
- Harriet Dyson, Marketing Controller, Britvic
- Callum Watt, Head of Digital Marketing, Britvic
- Hollie Bunyan, Brand Planner, Britvic
- Kelly Hilton, Head of Media, Britvic
- Aimee Vina, Business Director, LADBible
- Latisha Ma, Producer, LADBible
- Charlotte Morrin , Senior Creative, LADBible
- Katy Taylor , Platform Strategist, LADBible
- Drew Middleton , Associate Strategy Director, LADBible
- Jack Woolfenden , Senior Platform Strategist, LADBible
- Dai Roberts , Associate Creative Director, LADBible
- Alex Boultwood, Creative Producer, LADBible
- Samuel Tibbitts , LADcreator Network Account Director, LADBible
- Isabella Rewane-Dakolo , Account Executive, LADBible
- Victoria Rouine , Editor, LADBible
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Company
Tin Man
Client
Cadbury Fingers
Summary
‘The fear of missing out’ or FOMO, is a jokey phrase and used so much it now appears in the Oxford English dictionary. However, for the deaf community, it’s no laughing matter.
The frustration of missing out on conversations and human connections for this community is their daily reality.
Cadbury Fingers’ new ATL campaign called ‘Sign with Fingers Big and Small’, in partnership with the National Deaf Children’s Society, encouraged the nation to learn some British Sign Language to help include the deaf community in more precious shared moments. Our job was to amplify it through earned media.
We wanted to create FOMO amongst the hearing community and used a blend of popular culture and purpose to do so.
Consulting throughout with a team of deaf advisors, we teamed up with the biggest deaf TV star of the moment – Tasha Ghouri fresh from Love Island– and dropped some hotly anticipated relationship secrets to her followers on social.
The twist? The secrets were released using only BSL with subtitles subtly obscured, creating a rush of FOMO and frustration amongst her followers. Our ‘tease and reveal’ strategy was planned with military precision and as the angry comments rolled in, we watched our audience experience proper exclusion, just like deaf people experience before revealing the true purpose of the campaign.
Cue blanket coverage, 5.5million organic content views, a 20% increase in awareness of the brand purpose. And 53% of Brits would now consider learning BSL for the purposes of inclusion.
Entry image
Entry video
Entry credits
- Natalie Neave, Partner, Tin Man
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Company
OTW
Client
Lidl Sweden
Summary
The supermarket chain Lidl wanted to expand its reach to a wider audience in Sweden, particularly younger demographics and families with children. To achieve this goal, they aimed to position the Lidl brand in a new context that would attract a broader audience.
Our solution was to create a dating show, set in a Lidl supermarket, in collaboration with the Hänt.se platform. We recognized that the target group enjoys reality dating shows, so we transformed this campaign into a social experiment. Hänt.se is the go-to destination for entertainment news in Sweden, driven by curiosity, humor, and wit, which made it the ideal partner for Lidl to differentiate themselves from traditional grocery stores in Sweden.
This concept allowed us to leverage Hänt.se's strong online presence and social media reach on Facebook, Instagram, TikTok, and YouTube, along with the help of influencers. The creative concept was called Hungry for Love. We cast six celebrity singles and 24 single participants, all on the hunt for that special someone. Each participant would select ingredients from Lidl's vast product range to create the perfect dinner date. Our celebrity singles would then pick their date based on the items in their basket.
The result was a 360-degree campaign comprising six episodes, native articles, pre-rolls, editorial follow-ups, trailers, influencer involvement, and more. The Hungry for Love campaign exceeded everyone's expectations, with episodes surpassing the estimated reach by 42% and garnering almost 2.3 million views.
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Entry video
Entry credits
- Malin Lundberg Aguilera, Account Director, OTW
- Siri Bergsten, Producer, OTW
- Ada Ros, Project Manager, OTW
- Malin Rask, Head of Client Lead, Aller Media
- Johanna Bladh, Producer, Aller Media
- My Karlsson, Project Manager, Aller Media
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Company
Appnovation Technologies
Client
Alpro UK
Summary
For 40+ years, Alpro has been leading the food revolution, making plant-based a positive choice for the planet and its people. But, with many years of experience, came an outdated design, a clunky content management system and lacking conversion capabilities. Alpro also needed a platform that was easy to use internally, as current users had difficulty updating the website.
Like your morning coffee with some tasty oat milk, Alpro.com needed a refreshing approach to enhance their site with a new design and better UX to accommodate the audience's changing needs, with a more user-centric discoverability experience for users to explore and easily find what they are looking for.
We created an experience that didn’t just bring the brand to life, but showed the life in the brand, educated users about healthy choices available with plant-based options and shared ideas, inspiration and recipes to create irresistibly tasty foods.
Entry image
Entry credits
- Amanda Glasgow, Creative Director, Appnovation Technologies
- Jodie Keilly, UX Lead, Appnovation Technologies
- Susanna Ward, UI Designer, Appnovation Technologies
- Saphia Ezziane, Junior UX/UI , Appnovation Technologies
- Piet-Hein Van Drie, Client Lead, Appnovation Technologies
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Company
Taylor Herring & Mars Wrigley
Client
Mars Wrigley
Summary
"This calls for a mutiny,” Richard Osman tweeted to his 1.2 million followers. “WHAT?! This is a diabolical decision,” wrote Piers Morgan (8 million). “I am not amused… I draw the line,” Lorraine Kelly told the million-plus viewers of her morning show. The Prime Minister was questioned on the matter. Broadcaster Dan Walker ran a poll. Comedian Mark Watson debated the correct grammatical plural form. And on Twitter, the memes multiplied and the debate raged.
This entry tells the story of a campaign devised to ‘win the Christmas chocolate war’ featuring the most divisive chocolate in the Celebrations tub, the coconut-filled Bounty. The work was described by PR Week as ‘a masterpiece of earned media creativity’ and the results put other mega budget Xmas ad campaigns in the shade, generating over 6,000 pieces of news and features worldwide and creating a national talking point during the key Christmas seasonal sales period.
Entry image
Entry credits
- Peter Mountstevens, Chief Creative Officer, Taylor Herring
- Lora Martyr, Creative Director , Taylor Herring
- Rosie Cope, Account Director , Taylor Herring
- Meral Taze, Senior Account Manager, Taylor Herring
- Hannah Priestley, Senior Account Executive , Taylor Herring
- Georgie Feldman, External Communications Manager, Mars Wrigley
- Emily Owen , Celebrations Senior Brand Manager, Mars Wrigley
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6
Advertising
Description
Judges will be looking for an advertising strategy or campaign that can demonstrate results that fulfilled the set objectives - for example, an increase in revenue, consumer attitudes, website traffic, etc.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
mSix&Partners
Client
Britvic & Tango
Summary
This is the story of how Tango, mSix and LADBible took on the might of the world’s biggest soft drinks company and won with a budget of just £230k. Delivering a cost per person reached of just 1p and engaging British Youth audiences by tapping into Gen Z’s love of parody and irreverent humour.
To deliver this we used the power of our partners to speak to Gen Z in their own language – literally – harnessing the power of the peach emoji to overcome Tango’s “Dad Brand” reputation with our Gen Z audience and in doing so helping Tango to sell more Berry Peachy than any other new UK soft drink developed in 2022.
Entry image
Entry credits
- Millie Barrow, Planning Director , mSix&Partners
- Joseph Kidd, Strategy Director , mSix&Partners
- Ahmed Benissad, Digital Lead, mSix&Partners
- Josie Naghten, Paid Social Account Manager, mSix&Partners
- Jess Rowe, Digital Apprentice, mSix&Partners
- Victoria Burridge, Brand Manager, Britvic
- Harriet Dyson, Marketing Controller, Britvic
- Callum Watt, Head of Digital Marketing, Britvic
- Hollie Bunyan, Brand Planner, Britvic
- Kelly Hilton, Head of Media, Britvic
- Aimee Vina, Business Director, LADBible
- Latisha Ma, Producer, LADBible
- Charlotte Morrin , Senior Creative, LADBible
- Katy Taylor , Platform Strategist, LADBible
- Drew Middleton , Associate Strategy Director, LADBible
- Jack Woolfenden , Senior Platform Strategist, LADBible
- Dai Roberts , Associate Creative Director, LADBible
- Alex Boultwood, Creative Producer, LADBible
- Samuel Tibbitts , LADcreator Network Account Director, LADBible
- Isabella Rewane-Dakolo , Account Executive, LADBible
- Victoria Rouine , Editor, LADBible
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Company
Twitch
Summary
Bored by classical music, aspiring to picture-perfect posts, motivated by bling and VIP status, sensitive and individualistic. It’s a view of young adults that’s familiar to anyone listening to media commentators – or reading marketing briefs. It’s what everyone thinks they know about Millennials, Gen Z and increasingly Gen Alpha. But what if everything we think we know no longer holds true?
Twitch isn’t just a world leading livestreaming service. It’s also the digital playground of choice for young adults with purchasing power – the generations that are taking over the global economy. In working with these generations, Twitch observed a very different set of values and attitudes taking shape. They saw an audience that is purposeful, collaborative, inclusive, and prizes authenticity and spontaneity over idealised images of perfection.
Twitch believed that outdated assumptions now needed updating - urgently. Through groundbreaking semiotic research and in-depth surveys of the global Twitch audience, Twitch proved the existence of a new cultural force that is moving engagement with media and marketing in a very different direction: Generation Twitch.
To introduce Generation Twitch to the world, the livestreaming service launched its first ever global B2B campaign, smashing engagement benchmarks for branded content. Generation Twitch had changed the marketing game.
Entry image
Entry credits
- Adam Harris, Global Head, Custom Solutions, Twitch
- Alex Maguire, Insight & Measurement Director, EMEA , Twitch
- Paul Nesbitt, Director, International Measurement & Insights , Twitch
- Kay Taylor, Sales Marketing Content Lead, EMEA , Twitch
- Irene Siah, Sales Marketing Content Lead, APAC , Twitch
- Josh Penacerrada, Sales Marketing Designer, EMEA , Twitch
- Emily Porter-Salmon, Director, Sign Salad
- Laura Chamberlain, Managing Director, Sign Salad
- Sophia Lucena Phillips, Semiotician, Sign Salad
- Adam Short, Co-founder , The Point
- Alex Nketiah, Co-founder , The Point
- Ollie Willis, Co-founder, The Point
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Company
MadeBrave
Client
First Bus
Summary
Bus travel has been on a slow decline for decades
Hitting new lows during the pandemic, First Bus, Scotland’s largest bus provider, sought to try and reverse the downward trend in bus usage and improve the increasingly negative perceptions of bus travel.
They challenged us to create a campaign to tackle this attitude and behaviour, and encourage Scotland to see bus travel as a handy transport option once again.
Our solution — CarFree — played cars at their own game, and boosted brand awareness, purchase intent and sales far beyond First Bus’s expectations.
Plus, it made thousands of people talk, laugh, and park their bums back on bus seats.
Entry image
Entry video
Entry credits
- Steven Hadden, ECD, MadeBrave
- Brian McKay, Copywriter, MadeBrave
- Stu Lonsdale, Art Director, MadeBrave
- Emma Strain, GAD, MadeBrave
- Emma Stewart, Designer, MadeBrave
- Al Sakickas, Strategist, MadeBrave
- Emma Houston, Head of Comms Planning, MadeBrave
- Nathan White, Comms Planner, MadeBrave
- Carol ORiordan, Account Manager, MadeBrave
- Ewan Fletcher, Director, MadeBrave
- Lars Myrvang, Editor, MadeBrave
- Linsey Romano, Producer, MadeBrave
- Emer Ross, Junior Producer, MadeBrave
- Fraser Ireland, Senior Project Manager, MadeBrave
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Company
Storycatchers
Client
Network Rail
Summary
Trespassing on the railway leads to an average of 20 entirely avoidable deaths each year – including, tragically, the death of funny, football-mad, 11-year old Harrison Ballantyne.
In 2017 Harrison was out playing with his friends when he was killed by 25,000 volts of electricity at a privately owned rail freight depot. We worked with Network Rail, the British Transport Police, industry partners and Harrison’s parents to tell his story in a powerful, moving film that reduced child trespass incidents by 62%, and reduced overall trespass by 24%.
Every hour of every day, someone puts their life on the line around the railway, either because they're unaware of the risks that the network presents, or because they’re over-confident in their abilities to avoid them. Our creative strategy was to reinforce the unpredictable nature of the railway using unexpected storytelling techniques, in a film carefully constructed to be memorable using a number of behavioural biases and heuristics.
It’s extraordinarily difficult not to listen to a sunny, lively 11-year-old boy speaking directly to us about how he didn’t expect to die today. We used the warmth and charm of Harrison himself to draw people into our film, and kept them there - the paid YouTube VTR was 44% (against 20% benchmark), with 20% watching the full 2-minute film.
We’re extremely proud of this work, proud that we did Harrison justice, and proud of the impact it’s had.
This one’s for you, Harrison…
Entry image
Entry video
Entry credits
- Dee Atkin, Creative Director, Storycatchers
- Andy Hayward, Creative Director, Storycatchers
- Katy Baker, Account Director, Storycatchers
- Toby Wildgoose, Account Manager, Storycatchers
- Jack Salmons, Senior Art Director, Storycatchers
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Company
Splendid Communications + Sips & Bites
Client
Doritos
Summary
To drive relevancy and bold taste perception with Gen Z consumers, Doritos collaborated with the #1 Gen Z quick-serve restaurant, Burger King, to launch the new Flame Grilled Whopper Doritos.
Following weeks of teaser content from Doritos and Burger King sparking fierce speculation online of what was coming from the two brands, Doritos announced the partnership in an epic, fame-driving way to show that 'there's no smoke without fire.'
To celebrate our new flame-grilled flavour, we flame-grilled a 200 square foot Doritos billboard in front of the home of the flame-grilled Whopper, Burger King. Locals were stunned and hundreds gathered to watch the billboard burn to the ground, with pictures and videos spreading through social media.
Flame-grilling the Doritos billboard grabbed headlines around the world, driving mass reach, appeal, and hype for consumers anticipating the launch of the new Flame-Grilled Whopper Doritos.
Entry image
Entry video
Entry credits
- Fran Langdon, Creative Director, Splendid Communications
- Rosie Taylor, Senior Account Director, Splendid Communications
- Zerrin Morris, Events Director, Splendid Communications
- Alec Samways, CEO, Splendid Communications
- Alyssa-Tara Watling, Senior Designer, Splendid Communications
- Chloe Insall-Jones, Content Designer, Splendid Communications
- Poppy Adams, Junior Designer, Splendid Communications
- Luke Jackson , Producer and Founder, Luke Jackson Ltd.
- Matthew Watson, Executive Creative Director, Sips and Bites
- Chris Lovell, Senior Creative, Sips and Bites
- Jon Beach, Senior Creative, Sips and Bites
- Keir Simons , Business Director, Sips and Bites
- Jo Delaney, Head of Strategy, Sips and Bites
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Company
Mother London
Client
Trainline
Summary
Every day, we’re bombarded with drastic actions needed to meet our climate targets, but these tactics can leave people feeling scared or overwhelmed. So, we created I Came By Train, a more manageable way to make an impact. If we all switched just one car or plane journey to a train journey, every year, we could collectively save millions of tonnes of CO2. I Came By Train was launched with an RnB love letter to mother nature by Craig David, a bold OOH campaign that gave people a range of reasons to be proud to take the train and a website for people to pledge to make the switch.
Entry image
Entry video
Entry credits
- Mother London, Creative Agency, (Mother London)
- Stink Films, Production Company, (Stink Films)
- Golden Wolf, Animation Studio, (Golden Wolf)
- Byte /DEPT, Digital Agency, (Byte/DEPT)
- Larry Seftel, Creative Director, Mother London
- James Sellick, Creative , Mother London
- Lottie Sole, Creative, Mother London
- Felix Richter, Creative Partner / CCO, Mother London
- Ben McNaughton, Design Director, Mother London
- Jo Goldberg, Business Lead, Mother London
- Ollie Felts, Mother, Mother London
- Sabine Nguyen, Nanny, Mother London
- Omar El-Gamal, Strategy Director, Mother London
- Anna Jenkins, Strategist, Mother London
- Nat Curren, Producer, Mother London
- Sarah Allen, Producer, Mother London
- Tom Wong, PR, Mother London
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6
Media
Description
This category will reward the best media campaign or strategy. This can include TV, OOH, Print, Online, etc, and can be a single media or integrated campaign.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Heineken / Red Star dentsu X UK / Otherway
Client
Heineken UK
Summary
This entry shows how Strongbow – the UK’s iconic, top-selling cider – made cider relevant again for young people who had fallen out of love with the category.
Strongbow had created ULTRA Dark Fruit, a new, lower-calorie cider to win consumers who were choosing ‘better for you’ drinks. Our challenge was to make ‘ULTRA’ relevant for a new generation and reverse Strongbow’s declining penetration – quickly!
Armed with insights that audience was passionate about everything from music to fashion, and in love with online culture, we created a disruptive campaign that tapped into their interests: ‘Drink the G.O.A.T’, a play on acronym for ‘Greatest Of All Time’, featuring a purple goat which casually nods along to garage music. It takes cider out of orchards and the West Country, in a way that is incredibly impactful and distinct from anything else in the market.
We made the campaign unmissable in contexts that shape our audience’s culture and social discourse: an OOH takeover of Oxford Circus; billboards in drinking hubs; TV, VOD, and cinema in their favourites like Love Island, Taskmaster, Top Gun; online video in LADbible and YouTube; and social activations like TamaGOATchi on Twitter, a goat-themed Snapchat AR lens, and passion point-driven content on Pinterest.
The campaign drove increased brand awareness, retail sales and penetration; helped increase distribution; and won new younger shoppers. It proves that truly differentiated communications – underpinned by audience insights – can make a brand relevant again for a new generation.
Entry image
Entry video
Entry credits
[{"firstName": "Georgia", "lastName": "Herbig", "jobTitle": "Brand Manager", "company": "Heineken", "email": "", "linkedin": ""}, {"firstName": "Grace", "lastName": "Daley", "jobTitle": "Senior Brand Manager", "company": "Heineken", "email": "", "linkedin": ""}, {"firstName": "Muriël", "lastName": "Boelen", "jobTitle": "Marketing Manager", "company": "Heineken", "email": "", "linkedin": ""}, {"firstName": "Rachel", "lastName": "Holms", "jobTitle": "Marketing Director", "company": "Heineken", "email": "", "linkedin": ""}, {"firstName": "Lee", "lastName": "Mabey", "jobTitle": "Managing Partner", "company": "dentsu X Red Star", "email": "", "linkedin": ""}, {"firstName": "Alex", "lastName": "May", "jobTitle": "Managing Partner, Strategy", "company": "dentsu X Red Star", "email": "", "linkedin": ""}, {"firstName": "\xa0Tom", "lastName": "Ladlow", "jobTitle": "Strategic Planning Director", "company": "dentsu X Red Star", "email": "", "linkedin": ""}, {"firstName": "\xa0Patrick", "lastName": "Gorman", "jobTitle": "Client Director", "company": "dentsu X Red Star", "email": "", "linkedin": ""}, {"firstName": "\xa0Philippa", "lastName": "Ansell", "jobTitle": "Account Manager", "company": "dentsu X Red Star", "email": "", "linkedin": ""}, {"firstName": "Tom", "lastName": "Woodington", "jobTitle": "Head of Creative", "company": "Otherway", "email": "", "linkedin": ""}, {"firstName": "Robin", "lastName": "Temple", "jobTitle": "Head of Creative", "company": "Otherway", "email": "", "linkedin": ""}, {"firstName": "Alice", "lastName": "Lengereau", "jobTitle": "Creative", "company": "Otherway", "email": "", "linkedin": ""}, {"firstName": "Joel", "lastName": "Davies", "jobTitle": "Creative", "company": "Otherway", "email": "", "linkedin": ""}, {"firstName": "Rhiannon", "lastName": "Brackpool", "jobTitle": "Design Director", "company": "Otherway", "email": "", "linkedin": ""}, {"firstName": "Adrien", "lastName": "Chevalier", "jobTitle": "Designer", "company": "Otherway", "email": "", "linkedin": ""}, {"firstName": "Jack", "lastName": "Keeling", "jobTitle": "Senior Account Director", "company": "Otherway", "email": "", "linkedin": ""}, {"firstName": "Krish", "lastName": "Maharaj", "jobTitle": "Account Director", "company": "Otherway", "email": "", "linkedin": ""}, {"firstName": "Frankie", "lastName": "Cuffaro", "jobTitle": "Senior Account Manager", "company": "Otherway", "email": "", "linkedin": ""}]
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Company
Storycatchers
Client
Network Rail
Summary
Trespass on the railway is a major issue. People mistakenly believe they understand all the risks – and are overly confident in their ability to avoid them. If I can safely cross a busy road, I can manage an empty train track, right?
Wrong.
A unique partnership with Reach Media allowed us to break the rules of pre-rolls, to reduce trespass by 19% in priority locations compared to the previous year, and increase awareness of the rules of the railway by 17% - in a campaign that outperformed all Network Rail trespass campaign predecessors, on all KPIs.
Our broad audience was only linked by their behaviour. The most frequently used excuse for trespass around the railway is taking a shortcut – which gave us our hook.
We all love a shortcut, if we can skip it, we will. Advertisers fight fingers poised to skip our ads – it was this ‘skipping’ behaviour leveraged. Interactive pre-rolls presented a safety video with a fake ‘Skip ad’ prompt to shortcut it. If users chose to shortcut safety – at any point – a seamlessly served second video delivered the consequences: a graphic VFX wipe out.
55% of users stuck around for the full video – job done. And as for the 45% that tried to skip our ‘boring’ safety ad? Job DONE.
Entry image
Entry video
Entry credits
- Katy Baker, Account Director, Storycatchers
- Toby Wildgoose, Account Manager, Storycatchers
- Dee Atkin, Creative Director, Storycatchers
- Andy Hayward, Creative Director, Storycatchers
- Jack Salmons, Art Director, Storycatchers
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Company
ITV
Summary
How do you launch a new streaming service in an already saturated market and at the noisiest time of year? This was the immense challenge faced by the ITV Marketing team to launch ITVX; the UK’s freshest streaming service.
With ambitious awareness targets, to land a campaign in the white heat of the FIFA World Cup and in the run up to Christmas, we knew our launch campaign had to cut through and land with our target audience.
Our objective was to make ITV relevant again, with published goals to double monthly active users, streaming hours and subscribers by 2026.
To achieve this, we deployed a 360°, integrated marketing campaign that:
Launched 1,000+ pieces of creative assets, including using innovative media (e.g. metaverse/melting billboard) and humour (communications for streaming services are generally content-focused and serious) to cut-through.
Outlined the USPs we knew from consumer testing would resonate.
Used econometrics and predictive modelling to understand where/how to invest for maximum impact, resulting in a board-approved 60% increase in marketing budget.
Despite only launching ITVX in December, we’ve already achieved phenomenal success, including:
Prompted awareness more than doubling
Spontaneous consideration increasing >four-fold, 27% over target.
Entry image
Entry video
Entry credits
- Oliver Fisher, Director of Media , ITV
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Company
Home Instead/PHD Manchester
Client
Home Instead
Summary
To celebrate the achievements of those who continue to significantly contribute to society into their later years, we created ‘Purple Plaques - Celebrating lives lived well’ – a campaign that not only celebrated a societal group that is side-lined by mainstream media coverage but also went beyond *just* being a media campaign that came and went, by creating lasting physical legacies of their achievements.
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Entry video
Entry credits
- Adam Smith, Planning Director, PHD UK
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Company
RocketMill
Client
HomeServe
Summary
HomeServe is a leading provider of home assistance cover but they had a problem; not enough people were aware of the protection they offer to cover their homes plumbing, drainage, heating and electrical needs. So they set out to address this challenge by evolving their digital acquisition strategy to also support brand awareness amongst their new bullseye consumer, ‘Jason’, a busy dad of teens who wants to relax with peace of mind that comes from knowing everything is taken care of within his home.
Through targeted media planning, alongside relevant creative and messaging to explain how HomeServe could help Jason ‘take home life in his stride’, RocketMill activated a new, full-funnel media approach. The multi-channel campaign incorporated TV, radio, online and out-of-home to target homeowners like Jason as they went about their busy lives. The results of the refreshed approach were an increase in sales from paid media of 64% and a decrease in Cost Per Acquisition of 25% - securing their best ever month for digital performance.
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Entry credits
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Company
AMP by Havas Lynx Group
Client
Ethypharm
Summary
There’s an opioid overdose epidemic in the UK. In 2021, 2,219 people in the UK died from opioid overdoses – the highest rate in Europe. Those deaths are preventable. Ethypharm supports one of society’s most marginalised groups: people who use drugs (PWUD). Their treatment, naloxone, reverses opioid overdoses and saves lives.
As part of UK law, it’s free and legal to carry by almost anyone. Yet, naloxone is only effective when given in time. Sadly, distribution strategies through emergency services first-responders missed a life-saving truth: the people best placed to carry naloxone were those there at time of overdose - often other people who use drugs themselves.
After speaking with people who’d used drugs and carried naloxone, their stories became the campaign, a rallying cry for action. Using a specially crafted selection of media placements, the Hidden Lifesavers campaign increased the circulation of naloxone kits directly to the community who need it the most.
The campaign drove a 19% increase in naloxone demand, increasing the proportion of PWUD who carry naloxone to 25%, from an estimated 22% without the campaign. Approximately 1 in 4 people who use opioids now have a kit. Hidden Lifesavers put 6,331 additional naloxone kits into the community – that’s the potential to save 6,331 lives.
It’s a rare privilege to create advertising that erodes social stigma and potentially saves lives. Using media in the most effective way, the Hidden Lifesavers campaign succeeded.
Entry image
Entry credits
- Claire Knapp, Chief Executive Officer, Havas Lynx Group
- Andrew Gardner, Chief Strategy Officer, Havas Lynx Group
- Sarah Price, Director of Media and Performance, AMP by Havas Lynx Group
- Tim Woodcock, Commercial Director, AMP by Havas Lynx Group
- Louise Ward, Planning Director, AMP by Havas Lynx Group
- Meg Lowery, Media Planner, AMP by Havas Lynx Group
- Rob Jenkins, Creative Director, Havas Lynx Group
- Angus Prior, Creative Director, Havas Lynx Group
- Dave Eyre, Head of Copy, Havas Lynx Group
- Claire Gannon, Medical Writer, Havas Lynx Group
- Harry Conway, Photographer, Harry Conway
- Mel Dagget, Planning Director, Havas Lynx Group
- Hannah Beasley, Account Director, Havas Lynx Group
- Bethan Adamson, Planner, Havas Lynx Group
- Alex Hughan, Senior Account Manager, Havas Lynx Group
- Frances McClean, Account manager, Havas Lynx Group
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6
PR
Description
This category will award the best PR strategy or campaign that can demonstrate impressive results or engagement.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Taylor Herring
Client
Paddy Power
Summary
Paddy Power tasked us with making a PR splash in the run up to first-ever ‘Christmas World Cup’.
The seasonal context of the event was unusual, so we landed on the idea of releasing a Christmas album – a crossover between caroling and terrace chants. Then the client set us the ludicrous challenge of trying to land a Top 10 album.
Enter former England striker Peter Crouch and opera star Paul Potts. The unlikely duo, flanked by a full 40-piece orchestra and choir, would join forces to create a classical album like no other. Featuring high-end remakes of terrace classics like ‘Engerland, Engerland, Engerland’ and ‘VAR my Lord’.
The client loved the creative so much, it was elevated to become Paddy’s hero ATL activity for the World Cup – and amplified through TV, OOH, CRM, social and in-store.
The huge integrated campaign delivered global media coverage and a sold-out Wembley Arena event. We hit No.2 in the Classical album charts and resided in the Top 10 for 2 weeks. We raised over £30,000 for LGBT+ charity, Stonewall, to support their work in Qatar.
Argentina might have lifted the World Cup, but off-pitch it was Paddy Power that won the battle of the brands.
Entry image
Entry video
Entry credits
- James Herring, CEO , Taylor Herring
- Sam Corry, Senior Director , Taylor Herring
- Vishal Rana, Senior Account Director , Taylor Herring
- Liam Simpson, Head of Production, St Marks Studios
- Leah Spears, Head of Brand , Paddy Power
- Rachael Kane, PR Manager, UK & Ireland , Paddy Power
- Patrick Boyce, Brand Marketing Manager, Paddy Power
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Company
Tin Man
Client
Virgin Atlantic
Summary
When the biggest non-binary star, Sam Smith, shares and duets with your content THREE TIMES organically, when you land 550+ pieces of global coverage in three days and when you trend across all social media platforms…. you know you’ve made an impact.
But when you genuinely make a difference to both the people who work for the business and its customers… that’s what makes a campaign truly special.
To cement Virgin Atlantic’s position as the most inclusive airline, we listened to our people, ripped up the (Vivienne Westwood designed) uniform rule book and re-wrote its gender identity policy offering its people the option to choose the uniform they identified most with and introduced pronoun badges, gender neutral ticketing systems and inclusivity training for its people.
We announced it to the world with an inclusive, stylised fashion forward ‘runway on a runway’ content campaign, fronted by LGBTQ+ ally Michelle Visage, influencers, trans and non-binary pilots and crew, punchy media relations and a sprinkling of Virgin flair. The results speak for themselves.
Entry image
Entry video
Entry credits
- na na, na, na
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Company
Tin Man
Client
Cadbury Fingers
Summary
‘The fear of missing out’ or FOMO, is a jokey phrase and used so much it now appears in the Oxford English dictionary. However, for the deaf community, it’s no laughing matter.
The frustration of missing out on conversations and human connections for this community is their daily reality.
Cadbury Fingers’ new ATL campaign called ‘Sign with Fingers Big and Small’, in partnership with the National Deaf Children’s Society, encouraged the nation to learn some British Sign Language to help include the deaf community in more precious shared moments. Our job was to amplify it through earned media.
We wanted to create FOMO amongst the hearing community and used a blend of popular culture and purpose to do so.
Consulting throughout with a team of deaf advisors, we teamed up with the biggest deaf TV star of the moment – Tasha Ghouri fresh from Love Island– and dropped some hotly anticipated relationship secrets to her followers on social.
The twist? The secrets were released using only BSL with subtitles subtly obscured, creating a rush of FOMO and frustration amongst her followers. Our ‘tease and reveal’ strategy was planned with military precision and as the angry comments rolled in, we watched our audience experience proper exclusion, just like deaf people experience before revealing the true purpose of the campaign.
Cue blanket coverage, 5.5million organic content views, a 20% increase in awareness of the brand purpose. And 53% of Brits would now consider learning BSL for the purposes of inclusion.
Entry image
Entry video
Entry credits
- Natalie Neave , Partner, Tin Man
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Company
Mischief (MHP Group)
Client
Women's Aid
Summary
The Women’s Aid insight that instances of violence in existing domestic abuse relationships rise during major sporting events is not new.
It’s a story that’s been heard before, and one that’s been told before - through numerous successful and impactful campaigns. But that doesn’t mean it’s a story we should stop telling. If anything, it’s crucial that Women’s Aid only continues to build on the momentum around this narrative, and use innovative means to propel it further, and into new territories.
This is why this campaign should win. The creative execution ensured a known narrative was expressed in a new way. The media relations operation expertly repurposed data, successfully challenging media to revisit a topic they had ‘covered before’. The integrated channel strategy ensured that this wasn’t just a campaign that was seen but optimised to encourage action and support. Old insight; same ambitions, but new creative, integration and approach ensured new heights were reached.
Consequently, it amassed an increased following across social media – where the majority of our target audience groups consume their news - generating a high amount of clicks to the brand’s website in return. Organic opinion pieces referencing the campaign also continue throughout the World Cup season.
From LGBTQ+ rights to modern-day slavery and corruption – the Qatar World Cup had no shortage of unique, purpose-ripe talking points…and yet the most impactful, purpose-driven campaign came from a story you’ve heard before.
Entry image
Entry credits
- Doug McPherson, Associate Director, Mischief (MHP Group)
- Josie Whittle, Senior Director, Mischief (MHP Group)
- Vicky Purnell, Director, Mischief (MHP Group)
- Marianne Roberts, Senior Account Director, House 337
- Katherine Thompson, Business Director, House 337
- Corbin Shaw, Artist, Artist
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Company
Ready10
Client
McDonald's
Summary
What’s the ultimate marker of a great PR campaign? One that captures imagination and lands impactful coverage? One that’s so strong it’s lives through every customer touchpoint? Or one which delivers outstanding commercial results?
Our campaign for McDonald’s did all three.
At one of the most cluttered PR times of the year, “one’s lovin’ it” – our creative response for McDonald’s sponsorship of the Platinum Jubilee – was that rarest of things: it began as a PR idea and ended as a multi-channel campaign across TV, press, outdoor, CRM, social, and in-store, capturing the PR narrative and delivering record-breaking results.
Entry image
Entry credits
- David Fraser, Managing Director, Ready10
- Kate Addy, Managing Partner, Ready10
- Nick Russell, Account Director, Ready10
- Nader Ghahreman, Social & Digital Account Director, Ready10
- Christie Barber, Senior Account Manager, Ready10
- Immy Omole, Senior Account Executive, Ready10
- Louise Page, Head of Consumer Communications & Partnerships, McDonalds
- Jay Perry, Business Director, Leo
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Company
Taylor Herring & Mars Wrigley
Client
Mars Wrigley
Summary
"This calls for a mutiny,” Richard Osman tweeted to his 1.2 million followers. “WHAT?! This is a diabolical decision,” wrote Piers Morgan (8 million). “I am not amused… I draw the line,” Lorraine Kelly told the million-plus viewers of her morning show. The Prime Minister was questioned on the matter. Broadcaster Dan Walker ran a poll. Comedian Mark Watson debated the correct grammatical plural form. And on Twitter, the memes multiplied and the debate raged.
This entry tells the story of a campaign devised to ‘win the Christmas chocolate war’ featuring the most divisive chocolate in the Celebrations tub, the coconut-filled Bounty. The work was described by PR Week as ‘a masterpiece of earned media creativity’ and the results put other mega budget Xmas ad campaigns in the shade, generating over 6,000 pieces of news and features worldwide and creating a national talking point during the key Christmas seasonal sales period.
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Entry credits
- Peter Mountstevens , Chief Creative Officer, Taylor Herring
- Lora Martyr, Creative Director , Taylor Herring
- Rosie Cope, Account Director, Taylor Herring
- Meral Taze, Senior Account Manager, Taylor Herring
- Hannah Priestley , Senior Account Executive , Taylor Herring
- Georgie Feldman, External Communications Manager, Mars Wrigley
- Emily Owen, Celebrations Senior Brand Manager, Mars Wrigley
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5
Creative
Description
This category will look at the best creative ideas in a campaign or strategy
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
M&S x Mindshare x House 337 x Kinetic for M&S
Client
M&S
Summary
Actually, it started with a BraFact…or appropriately a pair of facts. Two-thirds of women were wearing the wrong size bra and a third of women had never had a bra fitting. As a company that sells 21 million bras a year this felt like a problem that M&S should be fixing.
Research made it clear that bra needs are as diverse as the bodies that wear them. There was, however, one common barrier to getting fitted. A lack of body confidence. M&S prides itself on being for everyone and now was the time to demonstrate that by not just promoting bra fittings but celebrating the rich tapestry of body types. It starts with a BraFit but the ultimate goal is body confidence. If it’s not too highfalutin ‘Love your Boobs’ is a shorthand for self-love.
A key expression of this message of body-inclusivity was Lydia Reeves’ art installation – ‘Sixteen’ - featuring casts of the chests of 16 diverse M&S colleagues and customers.
The campaign has only just ended but its impact has been both immediate and, it seems, enduring. Bra fittings remain up dramatically compared to last year (+67%). One in five women noticed the campaign (double that of a year ago), and over half of all UK women would consider using BraFit. There has been a total of 2.5m organic social views with customers complimenting the diverse casting of the campaign. Oh, and more bras are being sold too – up 4%.
We’ve started to love our boobs.
Entry image
Entry video
Entry credits
- Anna Braithwaite, Marketing Director, M&S
- Vicky Saunders, Head of Campaigns and Events, M&S
- Charlotte Pollard, Head of PR, M&S
- Luisa Lee, Head of Marketing, Media & Campaign Planning, M&S
- Katherine Rutherford, Senior Marketing Strategy Manager, M&S
- Nicole Masters, Strategy Partner, Mindshare
- Sophia Evans, Account Director, Mindshare UK
- Deyo Adetosoye, Account Manager, Kinetic
- Cheryl Crilley, Business Director, Kinetic
- John Dick, Client Service Director Kinetic Active, Kinetic
- Hannah Russell, Creative Account Director, Kinetic
- Ben Chadd, Managing Partner, Mindshare UK
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Company
Lucky Saint
Summary
9 million UK citizens joined in for Dry January, so non-alcoholic beer brand, Lucky Saint, chose the month to run a big-scale campaign, rooted in the insight that January is a time of temptations for many. To compete with bigger beer brands through brave creative, out-of-home ads went where few campaigns dare: referencing religious imagery and biblical slogans that signposted beer’s brewing history that began in monasteries, and referencing the brand’s name. As Dry Jan’s official drinks partner, LS stepped in as a saviour for the tempted with a helpline delivering free AF beer.
Lucky Saint, a challenger brand with big ambitions, needed an iconic, uncopyable campaign to chime with its broad church of audiences: moderate drinkers, abstainers, and the curious, delivered through multiple activations to increase awareness. Targeting Dry January was the optimum month to increase visibility with a limited budget.
Partnering with Alcohol Change UK as Dry Jan’s official drinks partner set the brand apart, on a budget. OOH creative riffed off Lucky Saint’s religious name and brewing heritage, using pre-existing imagery, alongside biblical slogans. Focusing on London and Brighton with experiential elements - a helpline, pub and tastings - introduced Lucky Saint in refreshing ways to target audiences.
Entry image
Entry video
Entry credits
- Emily Laws, Head of Brand , Lucky Saint
- Megan Taylor, Head of Creative, Lucky Saint
- Kerttu Inkeroinen, Marketing Director, Lucky Saint
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Company
PrettyGreen
Summary
Play-Doh is a bit messy, if you didn’t already know. And despite messy play having HUGE benefits for kids’ imagination and creativity, parents are still leaving it in the cupboard. We knew we couldn’t change the product, but we could attempt to embrace the mess, not just of the product, but of life. Enter ‘Parenting is Messy’ – a light-hearted, multi-layered campaign which put an arm around ball-dropping parents to say mess is normal and, quite frankly, perfection is over-rated.
We knew that parents were accosted daily by ‘The Parenting Book’ featuring ‘bestsellers’ that implicitly tell parents that they are not good enough. In fact, our ‘state of the nation’ research into parenting pressures found that they feel overwhelmed by advice and unattained parenting goals that are out there.
So, we created the Play-Doh parenting book – with a twist of course. Free to download, Play-Doh’s Notes on Messy Parenting was 32 pages of relatable, messy stories on parenting from 12 influential contributors, including Vogue Williams, Ian ‘H’ Watkins & Mother Pukka, who all promoted the campaign to their followers via social media content. We encouraged parents to share their own stories on our campaign microsite and relieve their parenting pressure at Play-Doh’s guilt-free liberation experience – The House of Messy Parenting!
As for the results, we increased Play-Doh’s share of voice versus competitors by 57% YoY, delivering over 200 pieces of coverage globally during the crucial pre-Christmas sales period, and over 21,000 positive engagements across our various campaign touchpoints.
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Entry credits
- Tania Burnham, Senior Account Director, PrettyGreen
- Sam Hooper-Gill, Client Services Director, PrettyGreen
- Emma Grace, Chief Creative Officer, PrettyGreen
- Lloyd Mullis, Senior Account Manager, PrettyGreen
- Ellie Skeffington, Account Manager, PrettyGreen
- Ed Micah, Senior Account Executive, PrettyGreen
- Tash Jaworski, Producer, PrettyGreen
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Company
Storycatchers
Client
Network Rail
Summary
Trespassing on the railway leads to an average of 20 entirely avoidable deaths each year – including, tragically, the death of funny, football-mad, 11-year old Harrison Ballantyne.
In 2017 Harrison was out playing with his friends when he was killed by 25,000 volts of electricity at a privately owned rail freight depot. We worked with Network Rail, the British Transport Police, industry partners and Harrison’s parents to tell his story in a powerful, moving film that reduced child trespass incidents by 62%, and reduced overall trespass by 24%.
Every hour of every day, someone puts their life on the line around the railway, either because they're unaware of the risks that the network presents, or because they’re over-confident in their abilities to avoid them. Our creative strategy was to reinforce the unpredictable nature of the railway using unexpected storytelling techniques, in a film carefully constructed to be memorable using a number of behavioural biases and heuristics.
It’s extraordinarily difficult not to listen to a sunny, lively 11-year-old boy speaking directly to us about how he didn’t expect to die today. We used the warmth and charm of Harrison himself to draw people into our film, and kept them there - the paid YouTube VTR was 44% (against 20% benchmark), with 20% watching the full 2-minute film.
We’re extremely proud of this work, proud that we did Harrison justice, and proud of the impact it’s had.
This one’s for you, Harrison…
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Entry credits
- Dee Atkin, Creative Director, Storycatchers
- Andy Hayward, Creative Director, Storycatchers
- Katy Baker, Account Director, Storycatchers
- Toby Wildgoose, Account Manager, Storycatchers
- Jack Salmons, Senior Art Director, Storycatchers
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Company
Lucky Generals
Client
Bed Head
Summary
In 2022, Bed Head briefed us to relaunch their brand to a new generation of buyers, as they grew their distribution from salons to consumer spaces. With market growth and brand salience as key objectives, we developed our brand platform ‘Stay Headstrong’. Combining our brand rebellious DNA and our target’s desire to engage in important issues, we framed hair as a statement of who we are as individuals, with a clear role for Bed Head to help people style their hair in a way that unleashes their true creative spirit.
Out of this, we created a bold OOH campaign with a new look & feel and a social media content series. Our OOH, especially fly posting, took over underground sites in all major UK cities, portraying Bed Head as an exciting and rebellious haircare and styling brand with a give-a-f*ck attitude. In film, we developed a content series where three headstrong icons in our hairdresser’s chair talked about their life and how they used their creativity to push back against societal norms.
As a result, we successfully grew market share to 0.3% value share of the total haircare market and 3.3% of the ‘Designer Hair’ category from scratch last year, with £2.7m MAT sales in February 2023 (+1105.5% vs last year). From a marketing POV, we successfully drove brand salience through increased awareness by reintroducing Bed Head to a new era of consumers, outperforming our CTR benchmark by 9% on average.
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Entry credits
- The Generals , - , Lucky Generals
- Kate Buttery, CMO, Elida Beauty
- Philip Downing, Creative Director, Bed Head
- Katie Westerby, Senior Marketing Manager, Bed Head
- Charlotte Parks-Taylor, Co-Owner & CSO, Cream UK
- Mark Izatt, Business Director, Cream UK
- Coral Brown, Director, OB Management
- Sam Holmes, Executive Producer, OB Management
- Rosa Junkovic, Producer, Freelance
- Liz Deegan, Editor, Whitehouse Post
- Absolute Post, Post-production, -
- Juliette Wileman , Colourist, Absolute Post
- Sarah Maerz, Junior Producer, Absolute Post
- Aaron - , Sound design, Rascal Post
- Sophie Jones, Photographer, -
- - -, Photography Production, Kintzing
- Briony Oates, Photographers Agent, Freelance
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6
Content
Description
This category will award a content strategy or campaign that can clearly show what was achieved - ROI, impact on the brand, consumer attitudes, etc.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Tin Man
Client
Cadbury Fingers
Summary
‘The fear of missing out’ or FOMO, is a jokey phrase and used so much it now appears in the Oxford English dictionary. However, for the deaf community, it’s no laughing matter.
The frustration of missing out on conversations and human connections for this community is their daily reality.
Cadbury Fingers’ new ATL campaign called ‘Sign with Fingers Big and Small’, in partnership with the National Deaf Children’s Society, encouraged the nation to learn some British Sign Language to help include the deaf community in more precious shared moments. Our job was to amplify it through earned media.
We wanted to create FOMO amongst the hearing community and used a blend of popular culture and purpose to do so.
Consulting throughout with a team of deaf advisors, we teamed up with the biggest deaf TV star of the moment – Tasha Ghouri fresh from Love Island– and dropped some hotly anticipated relationship secrets to her followers on social.
The twist? The secrets were released using only BSL with subtitles subtly obscured, creating a rush of FOMO and frustration amongst her followers. Our ‘tease and reveal’ strategy was planned with military precision and as the angry comments rolled in, we watched our audience experience proper exclusion, just like deaf people experience before revealing the true purpose of the campaign.
Cue blanket coverage, 5.5million organic content views, a 20% increase in awareness of the brand purpose. And 53% of Brits would now consider learning BSL for the purposes of inclusion.
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Entry credits
- Natalie Neave, Partner, Tin Man
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Company
No Problem
Client
Ballantine's
Summary
Ballantine’s wanted to grow advocacy in a new community, a community that is notoriously hard to engage, with finely-tuned BS detectors: gamers.
Instead of throwing money at the problem by sponsoring e-sports or buying ads on niche sub-Reddits, we partnered with Gearbox - the developers of the Borderlands franchise - to give fans more of what they love: we brought the game’s beloved non-playable-character Mad Moxxi out of the game and into the real world, as an employee of Pernod-Ricard. Moxxi’s a known entrepreneur and, most notably for a whisky brand, a bartender herself. Through her Twitter handle, LinkedIn profile and various streaming events fans were able to interact with her like never before, courtesy of Ballantine’s.
She launched the partnership with a drink responsibly video, developed her own limited-edition whisky (100,000 bottles rapidly sold out), and assembled a global squad of streamers to join her new endeavor.
Most importantly, we connected with gamers on their level: staying true to Moxxi’s character, adding new layers to a world they love and, in doing so, driving positive perceptions of Ballantine’s among this important new audience.
Moxxi’s Mission complete: Progress to Next Level
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Entry credits
- Tom Murphy, Partner, No Problem
- Adam Gong, Partner, No Problem
- Nils-Petter Loevgren, Creative Lead, No Problem
- Jim Goodrich, Copywriter, No Problem
- Andrew Jasperson, Copywriter, No Problem
- Helena Schlesinger, Art Director, No Problem
- Ben Shaw, Strategy Lead, No Problem
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Company
CHS
Client
Petplan UK
Summary
Petplan wanted to increase awareness of the brand through paid social activity to keep hold of their spot as the UK’s No.1 pet insurer. We came up with the creative strategy of "bitesize best care" - where Petplan would be able to provide essential content to pet owners even if they weren’t already insured by them. This would underline their expertise and showcase that they are more than just an insurer.
We created quick-fire, educational content which was perfect for social. Especially with the rise of 'edutainment' (educational entertainment). We focused our efforts on social platforms such as Meta, Instagram and TikTok, and created short snappy educational videos featuring the best tips for new and veteran pet owners.
The results of our campaign were huge. Both Meta and TikTok surpassed our expectations on both video and static posts by significant margins.
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Entry credits
- Claire Ibbott, Account Director, CHS
- Chloe Rendell, Account Manager, CHS
- Amy Ratcliffe, Planning Director, CHS
- Zineb Massaoui, Account Planner, CHS
- Sheridan Hurst, Deputy Creative Director, CHS
- Sophia Wareham, Senior Creative, CHS
- Sophie Cooke, Senior Creative, CHS
- Adam Finn, Video Editor, CHS
- Andy McHardy, Animator, CHS
- Hannah Kent, Creative, CHS
- Luke Biddiscombe, Senior Video Editor, CHS
- Andy Bold, Marketing & Communications Consultant, Petplan UK
- Baltej Waraich, Performance Marketing Manager, Petplan UK
- Lisa Sullivan, Brand Marketing Consultant, Petplan UK
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Company
The Anfield Wrap
Summary
If LFC manager JÜRGEN Klopp was asked to produce a documentary about himself, how would he do it? He would tell the stories of the people and places that helped shape and mould him. The Anfield Wrap, a media organisation with only 12 full time staff produced a five part docu-series about Jürgen Klopp, the most ambitious project undertaken to date by any fan led company and built a campaign around it with the aim of establishing a new benchmark for what fan led media is capable of in storytelling, filmmaking and brand marketing. TAW delivered a documentary and campaign that you might expect from Netflix, but with everything from strategy to production done in house, with no agency help and on a relatively low budget. To achieve this, the campaign would focus on our strengths in storytelling and experience in producing award winning low budget high impact marketing campaigns. It would utilise our reach amongst Liverpool FC fans online and our links to the media to help our spend travel further. The marketing had to reflect the scale and quality of the documentary and not the size of our team or our budget. But crucially, this was a campaign that saw TAW meet numerous business targets - a spike in new paying customers during a period without club football, a brilliant partnership with ERDINGER, our most viewed piece of content on Youtube ever, worldwide press coverage and a hugely positive reaction for the brand - including from Jürgen Klopp.
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Entry credits
- Craig Hannan, Head of Brand & Marketing, The Anfield Wrap
- Fuad Hasan, Filmmaker, The Anfield Wrap
- Jordan Singleton, Video Editor, The Anfield Wrap
- Ashley ORourke, Cinematographer, The Anfield Wrap
- Neil Atkinson, CEO, The Anfield Wrap
- Emma Johnson, Head of Ops, The Anfield Wrap
- John Gibbons, Head of Partnerships, The Anfield Wrap
- Andy Heaton, Producer, The Anfield Wrap
- Harriet Prior, Producer, The Anfield Wrap
- Josh Sexton, Website Editor/PR, The Anfield Wrap
- Sam Walkerdine, Head of Design, The Anfield Wrap
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Company
Woo
Summary
Woo is a feel good cultural and digital ecosystem designed to redefine wellness for Gen Z. Through a platform agnostic digital content strategy leveraging subversive shows, subversive editorial, immersive experiences and endorphins inducing video, we have become an antidote to the toxic news cycle. In 8 short months Woo has been seen over 1 billion times and has amassed a cult following of 1.6 million across our network of social channels. We’ve used content to make people think about wellness differently turning generation anxious into generation zen. Feel good here.
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Entry credits
- Stephen Mai, Founder & CEO, Woo
- Isolde Penwarden, Head of Video, Woo
- Luke Innes, Head of Media & Brand, Woo
- Jess Commons, Head of Editorial, Woo
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Company
160over90
Client
The Football Association
Summary
Executive Summary:
The women’s game has become an unstoppable force in recent years and with a home tournament, the UEFA Women’s EURO 2022 England squad announcement was a moment for us to supercharge the nation behind the squad.
Teaming together singer-songwriter Joy Crookes with a host of famous faces including David Beckham, Fara Williams, Ian Wright, Rio Ferdinand, Alex Scott, Mason Mount, Olympian Sky Brown, BB1 Radio DJ Clara Amfo, comedian Munya Chawawa and creators Amelia Dimoldenberg, Chunkz, Yungfilly, Elz, Francis Bourgeois and Joelah - we released “Our England”. A film that spoke to the women’s football community but was able to reach and resonate far beyond. It not only celebrated the squad but delivered a message of unity as we came together as one football family.
Lyrically the film reflected on the journeys that the players had travelled to reach selection – visually, we told the story of new hope that surrounds the game as we followed aspiring player Rahima on her journey to complete her England sticker book and reveal the squad.
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Entry credits
- Fiona Stones, VP, Brand and Influence, 160over90
- Adam Bulleid, Agent, WME
- Freddie Sassoon, Brand Lead England, The FA
- Rohan Courts, Marketing Manager England, The FA
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7
Social Media
Description
For a social media strategy or campaign that can demonstrate clear and concise results. It could include your use of Facebook, Twitter, Linkedin, Instagram, Tik Tok etc.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Lime Pictures
Client
Channel 4
Summary
Hollyoaks Digital creates social content which supports the programme’s storylines and engages the audience beyond the fictional world of Hollyoaks village. The Hollyoaks socials (TikTok, Facebook, Instagram, YouTube, Snap and Twitter) are optimized for each platform and in 2022, Hollyoaks reached over 460 million views and 900 million impressions on social media. The Hollyoaks Digital Team also delivers campaigns around story peaks that complement Channel 4’s single-minded purpose to create change through entertainment.
Renowned for tackling real world social issues where the viewers see their lives and experiences reflected, Hollyoaks’ storylines have shone a light on the spectrum of misogyny in everyday culture across 2022. In a special episode titled “The Long Walk Home”, character Maxine is separated from her friends, ending in her being violently attacked on her walk home by a man. In a first-of-its-kind Meta campaign, a VR 360 Immersive experience was designed with the focus of highlighting issues around women’s safety.
Hollyoaks IRL, a multi-platform documentary series, returned in 2023 setting out to showcase the real-life stories behind Hollyoaks' biggest issue storylines and featured individuals whose lived experiences had helped shape some of the show’s most important storylines.
In April 2022 Hollyoaks launched a new TikTok channel. The launch corresponded with a special episode filmed in Mallorca, creating the opportunity for a “TikTok Inception”.
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Entry credits
- Lime Digital, n/a, Lime Pictures
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Company
Johnny's Chop Shop
Summary
Johnny’s Chop Shop pro-grade grooming products have been sold in Boots since 2016, but in 2022 we saw our best year of sales, up 60% year on year. How? Our distribution stayed the same, our product range remained the same, but our marketing mix pivoted 180 degrees to a TikTok-first strategy.
Our challenge was how to cut through to the 18-30 male audience who are hard to reach and even harder to win over, and that’s where our new social media strategy kicked in. We used qualitative research backed up by online quantitative surveys to identify key media touchpoints, interests and social media platforms that would engage our target audience. The solution? We partnered with Elliot Forbes, an expert barber and TikTok megastar (9.5m followers), to communicate the Johnny’s Chop Shop brand and products through educating and entertaining videos on our own Johnny’s Chop Shop TikTok page, alongside posting content on his own channels.
Johnny’s Chop Shop posted over 65 videos across the year on TikTok, from tips & tricks, get the look and culturally relevant content. The result was an incredible 23.8 million views, 1 million likes and over 42k clicks driven to retailer websites.
This grew sales, and more importantly increased profit to its highest level in 7 years. In recognition of this achievement, we were awarded ‘Greatest Performance’ at the first ever UK TikTok Awards voted for by senior marketing and industry peers.
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Entry credits
- Jon Dee, Marketing Director, SLG Brands
- April Marlow, Marketing Manager, SLG Brands
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Company
Mindshare UK x Knorr x Jungle Creations
Client
Unilever, Knorr
Summary
In 2022, Knorr® joined forces with Twisted to take the nation's favourite Stock to the next level, revisiting family favourites and encouraging UK flexitarians to give their meals more flavour with Knorr® whilst reducing their meat intake and tapping into a more sustainable food culture.
We created a personality led social recipe series called ‘Just How I Like It’, encouraging the nation to embrace their flexitarian ambitions by inspiring them to cook the flavour filled, meat-free, ethnically diverse dishes that they craved, demonstrating how versatile Knorr® stock can be for multiple dishes and cuisines. In each episode, Black-British and Asian-British cooks and their older generation were invited to cook a traditional dish their way and put a meat-free take on classics, resulting in two versions of a special family recipe, from a delicious chickpea and kale-stuffed dhal to mouth-watering jerk lentil burgers.
The campaign went down a treat. Together, we successfully placed Knorr® at the heart of authentic cooking, generating a whopping 25M impressions, 14M views and 87K engagements. We successfully increased brand familiarity, seeing positive shifts across all tested metrics including Familiarity, Ad Recall and Action Intent.
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Entry credits
- Natasha Irwin, Account Manager, Mindshare UK
- Tess Domenet, Business Director, Mindshare UK
- Ismaila Bojang, Account Manager, Mindshare UK
- Megan Wieland, Account Executive, Mindshare UK
- Emily Harris, Account Director, Mindshare UK
- Andreaa Mihai, Account Manager, Mindshare UK
- Victoria Peake, Account Executive, Mindshare UK
- Paige Wellard, Partnerships Director, Jungle Creations
- Stephanie Losue, Senior Marketing & Communications Executive, Jungle Creations
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Company
Stellar Global Ltd
Client
Sage Appliances
Summary
Sage, a world leader in luxury kitchen appliances, tasked Stellar with expanding its premium customer offering across its digital platforms. In the past year, we have launched the state-of-art Sage Studios – a versatile brand space from which to create unique content, run masterclasses and host new product launches for our global retail partners and media.
More recently, we have been working closely together to break new ground in virtual selling and live stream shopping experiences, showcasing their range of high-end consumer goods across their existing digital platforms. As part of this strategy, we launched the Sage Studios TikTok shop in July 2022 with the aim of reaching a new, younger audience, introducing them to Sage products and welcoming them to a community of like-minded coffee lovers.
On Black Friday, November 22, 2022, our talented Sage Studios team of charismatic social superstars, conceived, planned and executed a pioneering activation with outstanding results. With 2.3 million impressions, 319,000 product views and an 18.7% click-through rate (10% benchmark), we helped Sage make TikTok EU history with the biggest single brand live selling event, taking them to #1 TikTok Shop in the Electronics category.
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Entry credits
- Georgia Ledbury, Virtual Experience Manager, Stellar Global Ltd
- Anthony Macina, Sage Studios Manager, Stellar Global Ltd
- Marie-Sophie Ferriere, Sales & Marketing Manager , Stellar Global Ltd
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Company
Coolr
Client
Burger King
Summary
On Friday, August 12th, Newcastle United goalkeeper Nick Pope was on everyone’s lips across social media, but not for his on-field performance.
What started as a simple poll, posted by the Coolr Burger King UK social team asking fans if tomato or gherkin was better, triggered a Twitter meltdown and sparked a viral cultural moment. Fueled by Newcastle fan account @ToonPolls, our tweet unleashed a Twitter storm which we were able to blow up even bigger and play to our advantage.
In a matter of just six and a half hours, Nick Pope became an internet sensation, Burger King UK was the number one trend on Twitter, mentions and positive sentiment of BKUK went through the roof, while hundreds of brands got in on the action, and the story spilled over into the national press.
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Entry video
Entry credits
- Chris Wakefield, business associate , Coolr
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Company
OK COOL
Client
Spotify
Summary
How do you inspire a new generation to change their perception of Spotify, from a place of utility, to be the audio platform of choice for Gen Z & youth culture?
OK COOL were tasked with ‘making Spotify cool in the eyes of Gen Z’. Our central focus was building brand love to feel uniquely Spotify, but also to inspire younger audiences to explore, discover and appreciate the playlist pioneers in an authentic, exciting way.
We know that Gen Z are emotionally complex. They use music as a form of personal expression and they're unafraid to put their feels out into the world. In fact, “oversharing” is a key insight into this audience, we tapped into this insight, creating Oddly Specific Feels, a campaign which showed Gen Z how Spotify allows you to build playlists based on mood, not genres. You can create oddly specific Spotify playlists, for oddly specific feelings.
Through repeatable formats on TikTok, we took to owned and creator channels as well as amplifying the campaign on Instagram, Twitter and YouTube… we even dropped an interactive filter on Snapchat. We then developed a nation-wide OOH campaign with the same message, tailoring playlist names to locations.
Spotify saw a 6% uplift in brand love as well as a staggering 55% ad recall and 4% lift in brand relevance with Gen Z. Across all channels, Oddly Specific Feels content reached 86% of Gen Z in the UK and Ireland from 113 million total impressions. Stellar!
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Entry credits
- Lucy Edwards, Senior Marketing Manager, Spotify
- Jade Greene, Social Marketing Coordinator UK&IE, Spotify
- Liz Stone, Co-Founder and Chief Creative Officer, OK COOL
- Jerome Cain, Account Director, OK COOL
- Sophie Jones, Account Manager, OK COOL
- Jamie-Lee Pepera, Head of Art, OK COOL
- Dani Greenwald, Head of Content Creative, OK COOL
- Annie House, Senior Strategist, OK COOL
- Tyn Yu Nuo, Content Creative, OK COOL
- Clarissa Henry, Content Creative, OK COOL
- Dan Taylor, Graphic Designer, OK COOL
- Eleni Papachristodulou, Graphic Designer, OK COOL
- Bonnie Lee, Senior Producer, OK COOL
- Jen Cheema, Content Producer, OK COOL
- Laura Copley, Creative Copywriter, OK COOL
- Daniel Lee, Freelance Copywriter, Freelance
- Zara Truman, Freelance Creative, Freelance
- Morgan Hislop, Freelance Graphic Designer, Freelance
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Company
Woo
Summary
Woo is a feel good cultural and digital ecosystem designed to redefine wellness for Gen Z. Through a platform agnostic social and digital strategy leveraging subversive shows, subversive editorial, immersive experiences and endorphins inducing video, we have become an antidote to the toxic news cycle. In 8 short months Woo has been seen over 1 billion times and has amassed a cult following of 1.6 million across our network of social channels. Turning generation anxious into generation zen. Feel good here.
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Entry video
Entry credits
- Stephen Mai, Founder & CEO, Woo
- Luke Innes, Head of Media & Brand, Woo
- Elli Weir, Senior Social Manager, Woo
- Hollie Hilton, Senior Social Producer, Woo
- Bobbie Temple, Social Producer, Woo
- Emily Clays, Social Assistant, Woo
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5
Design/Brand
Description
The best design development for a product, campaign or advert. The judges will be looking for a clear demonstration of a solution that interpreted the client's objectives.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Hilton
Summary
A Stay On The Green by Hilton is a fully functioning, replica hotel room of the Hilton Imperial Dubrovnik - with a twist, this room is located on the golf course at Jumeirah Golf Estates, Dubai. Planned in the UK and executed in Dubai for the week of the DP World Tour Championship, this new concept was brought to life with 3 main goals in mind:
1. Promote the new global brand campaign ‘Hilton For The Stay’, showcasing the importance and value of where you stay, because at Hilton The Stay is at the heart of who we are and of everything we do.
2. Highlight the exceptional service and hospitality that only Hilton can deliver – a true replication of an on-property experience.
3. Increase awareness of Hilton’s partnership with DP World Tour and showcase money-can’t-buy experiences Hilton offer to their Hilton Honors Members.
What better way to achieve these goals than to build a Hilton hotel room, directly on the golf course?
During the week, TV personality and golf fanatic Chris Hughes and European Ryder Cup Captain and Hilton Ambassador Luke Donald were invited to be the first to experience this unbelievably unique overnight stay, followed by Hilton Honors members who bid their points towards winning this experience. These lucky guests and golf fans could then enjoy all the elements of a Hilton stay and the DP World Tour Championship, from the best seats in the house.
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Entry credits
- Mathieu Demarquis, Director, Strategic Partnerships, Global Marketing & Loyalty, Hilton
- Kate Dixon, Director, Loyalty, Partnerships & Enterprise Marketing, Hilton
- Jillian Jackson, Senior Manager, Loyalty, Partnerships, & Enterprise Marketing, Hilton
- Stijn Bastiaens, Vice President Global Strategic Partnerships, Hilton
- Chris Bovey, Head of Client Services, Right Formula
- Tim Silvey, Senior Account Director, Right Formula
- Katie Mallalieu, Senior Account Manager, Right Formula
- James Baker, Account Manager, Right Formula
- Saffron Armstrong, Senior Account Executive, Right Formula
- Oliver Wrigley, Senior Account Executive, Right Formula
- Matt Regale-Day, Creative Director, WeAre3Fold
- Melanie Qutteineh, Managing Director, WeAre3Fold
- Rhys Morgan, Commercial Director, WeAre3Fold
- Rhodri Morgan, Account Manager, WeAre3Fold
- Jeremy Hall, Senior Partnerships Manager, DP World Tour
- Claire Badger, Partnerships Manager, DP World Tour
- Miles Fletcher, Partnerships Management Executive, DP World Tour
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Company
Forever Beta
Client
Hospitality Rising
Summary
There are nearly 200,000 vacancies in the UK hospitality industry, and it’s crippling. Restaurants are forced to reduce serving hours, hotels are turning guests away, pubs are struggling to survive. All off the back of tremendous difficulties posed by Brexit, Covid and the cost of living crisis. We needed more than a campaign to change that. We needed a movement. A movement to galvanise the entire sector into action. A call of arms to address the negative perception of the hospitality sector.
So, we built a new kind of recruitment campaign for those ready to Rise Fast, Work Young.
Our primary audience are those young at body and young at heart, who are bored of being bored. We needed to excite and inspire in a totally original way for the sector. The art direction had to shine where so many recruitment campaigns have struggled to cut through.
We represented the sector through relatable, current and aspirational characters. We showed them bossing their jobs. Hero-ing them with dynamic camera angles and poses inspired by contemporary fashion shoots.
We worked with an award-winning music production company to develop a bespoke soundtrack for the video assets, featuring Miss Kay, an up-and-coming UK female rap artist.
The results? The campaign is outperforming targets: reaching 42m across trade and national media, 13m across nationwide advertising; causing an explosion of visits to the website, generating over 20,000 applications.
In addition it has raised £850k of support and is backed by 300+ UK hospitality businesses.
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Entry credits
- Robin Gadsby, Chief Executive Officer, Forever Beta
- Paulo Areas, Chief Creative Officer, Forever Beta
- Nick Radley, Chief Strategy Officer, Forever Beta
- Darren Cox, Head of Design, Forever Beta
- Alexander Harazim, Designer, Forever Beta
- Miles Bingham, Creative, Forever Beta
- Mark Campion, Creative, Forever Beta
- Jack Cresswell, Creative, Forever Beta
- Ben Farrow, Creative , Forever Beta
- May Reinholdsson , Account Manager, Forever Beta
- Patrick Flynn, Head of Client Services, Forever Beta
- Sarah Jacobs, Production Lead, Forever Beta
- Bianca Green, Creative Producer, Forever Beta
- Philip Hardy, Video Editor, Animator & Director, Forever Beta
- Uzoma Patrick-Ogbu, Research Assistant , Forever Beta
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Company
TheMix London
Client
Pernod Ricard - Castillo de Ibiza
Summary
The premium pale rosé market is dominated by French Provencal style big hitters, so how do you stand out in the crowd with a new brand? The brand is Castillo De Ibiza, a new pale rosé significantly from Spain, not France and our challenge was to make it feel not only that it belonged in that esteemed company, but cut through. Taking inspiration from the personality of the White Isle and the iconic sunset drinking occasion as a point of difference, our first task was to identify a brand purpose and messaging. Through analysis of the competitor set focused on luxe, daytime drinking occasions we developed a brand positioning and manifesto unique to Castillo De Ibiza, one that spoke to the magic of the island but also the feeling of transporting you to beaches with the sun setting, glass in hand, music on and surrounded by like-minded people. Pure escapism.
The next challenge was for the visual strategy which leaned heavily on the aesthetic of Ibiza and its boho minimalist character. We created a brand world encompassing art direction, colour, typography usage and a full suite of hand painted graphic assets that embody the boho yet premium nature of the brand. We then completed a comprehensive set of photography and moving image assets on location to capture the essence of long Ibiza days and nights. These have been rolled out extensively through digital, social and in-store with results that exceeded expectations and redefined what a Spanish pale rosé.
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Entry video
Entry credits
- Alex England, Associate Creative Director, TheMix London
- Jessica Hirani, Producer, TheMix London
- Stefania Giunchi, Senior Designer, TheMix London
- Martha Grant, Designer, TheMix London
- Lucy Bearman, Wine & Champagne Portfolio Director, Pernod Ricard UK
- Victoria Bryksa , Wines and Champagnes Ambassador, Pernod Ricard UK
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Company
Lucky Generals
Client
Bed Head
Summary
In 2022, Bed Head briefed us to relaunch their brand to a new generation of buyers, as they grew their distribution from salons to consumer spaces. With market growth and brand salience as key objectives, we developed our brand platform ‘Stay Headstrong’. Combining our brand rebellious DNA and our target’s desire to engage in important issues, we framed hair as a statement of who we are as individuals, with a clear role for Bed Head to help people style their hair in a way that unleashes their true creative spirit.
Out of this, we created a bold OOH campaign with a new look & feel and a social media content series. Our OOH, especially fly posting, took over underground sites in all major UK cities, portraying Bed Head as an exciting and rebellious haircare and styling brand with a give-a-f*ck attitude. In film, we developed a content series where three headstrong icons in our hairdresser’s chair talked about their life and how they used their creativity to push back against societal norms.
As a result, we successfully grew market share to 0.3% value share of the total haircare market and 3.3% of the ‘Designer Hair’ category from scratch last year, with £2.7m MAT sales in February 2023 (+1105.5% vs last year). From a marketing POV, we successfully drove brand salience through increased awareness by reintroducing Bed Head to a new era of consumers, outperforming our CTR benchmark by 9% on average.
Entry image
Entry credits
- The Generals , - , Lucky Generals
- Kate Buttery, CMO, Elida Beauty
- Philip Downing, Creative Director, Bed Head
- Katie Westerby, Senior Marketing Manager, Bed Head
- Charlotte Parks-Taylor, Co-Owner & CSO, Cream UK
- Mark Izatt, Business Director, Cream UK
- Coral Brown, Director, OB Management
- Sam Holmes, Executive Producer, OB Management
- Rosa Junkovic, Producer, Freelance
- Liz Deegan, Editor, Whitehouse Post
- Absolute Post, Post-production, -
- Juliette Wileman , Colourist, Absolute Post
- Sarah Maerz, Junior Producer, Absolute Post
- Aaron - , Sound design, Rascal Post
- Sophie Jones, Photographer, -
- - -, Photography Production, Kintzing
- Briony Oates, Photographers Agent, Freelance
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Company
VMLY&R
Client
Wendy's UK
Summary
This is a story about raising up local culture.
When small budgets aren’t going to allow you to spend your way to success, we had to approach the challenge of maximising our Camden store launch by driving awareness and footfall with a fresh, new attitude.
An opportunity to steal market share from competitors by outsmarting them. We knew that our voice was never going to be loud enough using traditional media so we looked in places where others could do the talking for us.
We harnessed the power of authenticity, got under the skin of our audience, and invited them to be part of the restaurant opening, which helped to create work people wanted to engage with, talk about and share organically.
It was an opportunity to unleash our creativity, showing up as a feisty female with a fresh, modern, and more localised touch to dart straight to the heart of the community.
Knowing that Camden is increasingly threatened with mass gentrification despite it being the punk capital of the world in the 21st century, we want to reignite its history and bring back that spirit of much-celebrated London borough by working with local artists to Camdenise our very own red-haired pigtailed Wendy cameo.
By giving Wendy’s a fresh hair makeover, we found a different way to celebrate the arrival of a new restaurant with the consumer at the heart, rather than relying on fresh food and ingredient messages alone, which all the industry behemoths still hang their hats on.
Entry image
Entry credits
- Laurent Simon, Chief Creative Officer, VMLY&R
- Dayoung Yun, Creative Director, VMLY&R
- Abi Stephenson, Senior Creative, VMLY&R
- Matt Jones, Senior Creative, VMLY&R
- Eliza Hazlerigg , Associate Strategy Director , VMLY&R
- Christina Miller, Head of Social, VMLY&R
- Sinead Brennan, Community Manager, VMLY&R
- Lloyd Sampson, Business Director, VMLY&R
- Tom Hayward, Account Director, VMLY&R
- Beth Dooley, Project Director, VMLY&R
- Nathan Jones, Artworker, VMLY&R
- Jack Webster, Designer, VMLY&R
- Simon Jones, Managing Partner, Spark Factory
- Paige Tilley, Associate Director, Spark Foundry
- Sophie Pinna, Account Manager, Spark Foundry
- Anna-Christina Mouawad, Account Manager, Spark Foundry
- Jasmine Barnes, Director, BCW
- Florence Christie, Senior Account Director, BCW
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6
Experience
Description
This category will reward the best experience campaigns. Effectiveness is key and the judges will be interested in elements such as the number of people attending, increase in perception, change in customer attitudes, commercial successes, transcendence to the digital space and any other evidence that can support the entry.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Unite Students and TRO
Client
Unite Students
Summary
Following the success of their 2021 ‘Power to the Pizza’ campaign, Unite Students entrusted TRO to create a fresh and fun experiential activity that would complement their wider ‘#NoBrainer’ marketing campaign, by positioning them as the obvious choice for student accommodation and help drive rebooking for 2023/2024.
Using data, behaviours and learnings from 2021, TRO delivered a customer-tailored experience never attempted by Unite Students before. The ‘Donut Drop’ concept, which played on the target audience’s love of donuts, personalisation and anything Instagrammable, consisted of 55 tailored activations held in and around Unite properties in 18 cities around the UK. TRO aimed to capture the imagination of over 35,000 students, by creating colourful, fun and inclusive events that consisted of live DJ performances, donut trampolines, donut personalisation stations and more - all driving social sharing and content creation.
Through this shared experience, students across the UK were able to experience the Unite brand and their properties in an authentic, fun and meaningful way.
Whilst helping Unite Students meet their overall campaign objectives, TRO also managed to smash their KPI’s by exceeding launch week sales targets, website views and online bookings astronomically - all whilst driving visibility of the brand across a multitude of social platforms, showcasing the genuine power of experiential.
Entry image
Entry video
Entry credits
- Gemma Mason, Head of Marketing, Unite Students
- Jim Williams, Senior Domestic Marketing Manager, Unite Students
- Laura Bailey, Campaign Marketing Manager, Unite Students
- Alice Williams, Digital and Social Media Manager, Unite Students
- Charles Sartain, Digital Content Manager, Unite Students
- Beth Pursall, Marketing Executive, Unite Students
- Narisa Li, International Marketing Manager, Unite Students
- Emma Card, Project Lead, TRO
- Rob Booker, Client Partner, TRO
- Iona Howard, Production Manager, TRO
- Peter Pisani, Project Coordinator, TRO
- Pete Walthew, Lead Operator, TRO
- James Flett, Lead Carpenter, TRO
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Company
Taylor Herring
Client
NOW and Sky
Summary
Few fanbases are as passionate and devoted as the Game of Thrones community. Everyday thousands of ‘thronies’ meet in discussion forums, dress up for conventions, scrutinise scenes from the series, vigorously debate all that has happened and - more thrillingly - what might happen next.
To build excitement for the release of House of The Dragon, the hotly anticipated prequel to Game of Thrones on streaming service NOW and Sky NOW TV, we wanted to send superfans into a frenzy. Game of Thrones vloggers, bloggers and sleuths have considerable influence and reach - if you excite them, you excite A LOT more people. So, we put our heads together to imagine the ultimate ‘thronie’ experience… Why not reward them by inviting them to be the first in the world to sit on the ultimate seat of power, Aegon Targaryen’s Iron Throne, and feel what ruling the kingdom Westeros is like? So, that’s exactly what we did in the most thematically fitting (and probably the most executionally challenging) place we could think of - the Tower of London.
The results were the stuff of fantasy (sorry!). The Tower of London activation and subsequent nationwide tour drove 230+ earned articles, plus live broadcasts on Sky News and ITV’s Good Morning Britain. Throne tickets sold out in 24 hours and the tour had roughly 240,000 visitors. Meanwhile, influencer content had a combined reach of 3.4 million and social posts netted 1.3 million impressions as well as over 4,000 engagements.
Entry image
Entry video
Entry credits
- James Herring, CEO, Taylor Herring PR
- Sam Corry, Senior Director, Taylor Herring
- Liam Simpson, Head of Production, Taylor Herring & St Marks Studios
- Alex Butler, Account Director, Taylor Herring
- Jamie Schwartz, Director of Marketing & Merchandising, NOW TV
- Claire Barson, Brand Communications Controller, NOW TV
- Scarlett Such, Senior PR Manager, NOW TV
- Chanelle Shibata, Senior PR Manager, NOW TV
- Orla ONeil, PR Executive, NOW TV
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Company
PrettyGreen, What They Said & The Producers
Client
Not On the High Street
Summary
In Summer 2022 Not On the High Street (NOTHS) went through a glow-up to appeal to a younger audience and claim back market share from rivals. We were briefed to present NOTHS’ cooler brand product portfolio as the new ‘gifting destination of choice’ for Gen Z and Millennials. Our strategy unpicked what NOTHS’ new brand platform of ‘gifting moments of joy’ meant to this younger audience with insights showing that a gift was much more meaningful to Gen-Z when it was an unexpected response to things not going so well. By not going well, we mean the up’s & downs of being under 35. Dumped, ghosted, cheated on, bad interview, sh*t haircut, skirt stuck in pants, email sent to all, colloquially called ‘f*ck my life’ or ‘FML’ moments. It was these authentic moments recognised that we knew floated our audience’s boat. Enter the NOTHS FML Store and Edit – a vibrant campaign elevating a curated edit of gifts perfectly matched to FML moments (Love Trouble, Work Drama, Epic Fail, Fuming, Cringed, Frazzled) and made available via an IRL retail ‘empathorium’ as well as the NOTHS website. Launched in September to coincide with Mercury in Retrograde (an astrological bad luck moment) the FML Store swapped bad luck stories for free gifts and we partnered with irreverent Sam Thompson to amplify NOTHS FML Store and Product Edit across social and earned media.. The campaign reached 208M people, drove over 24,000 Gen Z social engagements, remedied 600 Gen Z FML moments in-store
Entry image
Entry video
Entry credits
- Emma Grace, Executive Creative Director, PrettyGreen
- Emma Simpson, Associate Director, PrettyGreen
- Lloyd Mullis, Senior Account Manager, PrettyGreen
- Gabriella Mascia, Planner, PrettyGreen
- Natasha Jaworski, Senior Producer, The Producers
- Adam Shoemark, Client Services Director, The Producers
- Joe Stratton, Client Services Director, What They Said
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Company
Quantum
Client
Campari Group UK
Summary
With a brand philosophy of spontaneity, limitless optimism and Italian sociability, the pandemic presented a plethora of challenges for the Aperol Spritz with the absence of bars and halt to international travel. To recruit new drinkers, as well as re-recruit lapsed drinkers that may not have had a well made Aperol Spritz in over two years, our objectives were to drive trial at scale, increase visibility & consumer engagement, and improve bartender advocacy.
Through our takeovers of outdoor terrace spaces across the UK, Piazza Aperol became our central theme to capture the hearts and minds of our drinkers, placing Aperol Spritz centre stage as the first drink of the evening. We brought an authentic Italian piazza to the UK by creating an immersive brand experience, connecting consumers to Aperol Spritz with expertly poured serves at the bar, instagrammable branded setups, ad-hoc summer social events featuring DJs, and brand ambassador sampling throughout.
With our outdoor activations achieving admirable results in reach and consumer sentiment, we overlaid additional omni-channel campaigns that reached beyond venues and further spread the reach of Aperol’s orange wave. Our supporting campaigns drove mass trials of the Aperol Spritz in bars across the country, provided an instant escape to Italy at home with a chart topping retail promotion, and inspired bartenders across the UK to make the perfect Aperol Spritz every time with an immersive staff advocacy and training programme.
Entry image
Entry video
Entry credits
- Crispin Stephens, Channel & Customer Marketing Director, Campari Group UK
- Stuart Ayre, Manager Manager, Campari Group UK
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Company
Happy Finish in collaboration with 8th Wall and Chain Reaction
Client
adidas
Summary
Reunion of Giants, a world first campaign to engage a new generation of sports fans for the first World Cup in the Middle East.
To achieve this, Happy Finish deployed a 360-degree integrated campaign that touched multiple marketing channels of Adidas, including TV, print, social media, OOH, and experiential.
Each channel was tailored to provide a unique experience that showcased two of the biggest names in world football, Lionel Messi and Karim Benzema, as true giants of the sport. This included an innovative AR experience, a global first, that synchronised with the content displayed on the Burj Khalifa, the world's tallest building.
An unforgettable campaign that exceeded all engagement benchmarks and one that truly embodied adidas' brand attitude of 'Impossible Is Nothing'.
Entry image
Entry video
Entry credits
- Lyndon Greenlees, Director Strategic Partnerships, Happy Finish Ltd
- Alex Lambert, Creative Director, Happy Finish Ltd
- Erfan Saadati, Executive Producer, Happy Finish Ltd
- Diana Mendez, Associate Content Marketing Manager, 8th Wall
- Bahaa Khasawneh, Account Director, Chain Reaction
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Company
productionglue (A TAIT Company)
Client
MDLBEAST
Summary
Until 2018, men and women were forbidden from attending music concerts – or any type of public entertainment together in Saudi Arabia. When the ban was lifted, people were looking to express themselves through dance, music, and art fueling a rising storm. MDLBEAST, an entertainment company anchored in the Kingdom, was looking to harness the storm’s energy hoping it would become a cultural catalyst for Saudi youth and drive change throughout the region. As music took root, MDLBEAST was eager to create something so powerful the world would take notice – a high-octane, barrier-breaking music festival – powered by people. Where friends could forge indelible memories, and men and women could stand shoulder to shoulder experiencing music together, in public – many for the very first time. As beats were unleashed and absorbed by the crowd, barriers began to fall, and joy spread like wildfire. Patrons posed for cameras, wanting to express themselves, clamoring to be seen for who they really are. For three days, 200 artists played across 7 stages and 2 lounges as attendees circumnavigated the 5.3 sq km festival site encountering over-the-top immersive entertainment, stunning works of art, and heart-pounding experiences. The air was electric at this sold-out event as guests enjoyed the very best of Saudi arts and culture. Not only did Soundstorm herald a new era for live events, this need-to-see-it-to-believe-it experience broke records in pyrotechnics, capturing headlines around the globe. Most importantly, it united people to drive change and shattered perceptions through music.
Entry image
Entry video
Entry credits
- Dan Hill, DownBeast Design, Cassius Creative LLP
- Chris Squib’ Swain, DownBeast Design, Cassius Creative LLP
- Alex Reardon, Festival Creative Designer, Silent House
- Samuel Tozer, UG Designer, Vision Factory
- Tyler Kicera, Architect / Designer VIP Buildings, köllab
- Trevor Burk, Digital Content, Visual Noise Creative
- Stephen Stapleton, Digital Content , Edge of Arabia
- Stuart Pring, Lighting Designer, Stuart Pring
- Ahmad (Baloo) Alammary, Chief Creative Officer, MDLBEAST
- Michael (Curly) Jobson, Executive Director, MDLBEAST
- Quentin Greyling, Designer UG Stages/Senior Events Manager, MDLBEAST
- Robert Bock, Global Brand, Strategy & Culture Leader, MDLBEAST
- Nedda Akhonbay, Public Relations + Communication Lead, MDLBEAST
- Tyler Stellman, F&B, Retail, and Partnerships Director , MDLBEAST
- Matt Richman, Festival Director, productionglue (A TAIT Company)
- Cole Griswold, Project Lead, productionglue (A TAIT Company)
- Zach Wright, Senior Technical Director, productionglue (A TAIT Company)
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6
Tech
Description
This category will reward campaigns and strategies with the best use of technology as an enabler.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Bannerflow
Client
Bannerflow x Kaizen Gaming
Summary
Bannerflow and Kaizen Gaming formed a winning partnership during the FIFA World Cup 2022. Using Bannerflow's Creative Management Platform, Kaizen launched its most extensive marketing campaign ever, making its brand visible to millions of fans globally.
Using Bannerflow, Kaizen was able to unlock a wealth of creativity and innovation across all channels, creating a seamless omnichannel experience for its audience.
And to make things even more exciting, one day before the World Cup started, Kaizen was announced as an official sponsor for the tournament, requiring the immediate update of all marketing material across twelve countries.
With impressions reaching the nine-figure mark and Gross Gaming Revenue increasing by 2000%, the World Cup campaign was an enormous success, with superior results surpassing all campaign objectives.
Entry image
Entry video
Entry credits
- Manos Stefanopoulos, Marketing Manager, Kaizen
- Pablo Puertas, Marketing Director, Kaizen
- Stelios Asikopoulos, Head of Brand Communications, Kaizen
- Noemi Martínez, Customer Success Manager , Bannerflow
- Evelinn Idenfors, Technical Product Specialist , Bannerflow
- Josephine Piehl, Customer Experience Project Manager, Bannerflow
- Katja Soboleva, Event Specialist , Bannerflow
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Company
Mediahub UK & Matterkind
Client
Pinterest
Summary
Mediahub technology team built the world's first Attention-Optimizing Custom Algorithm to overcome Gen Z’s ‘inattention effect’.
This tech powered ‘Don’t Don’t Yourself’ – a strategy that hacks the doom-scroll to promote ‘Do-scrolling’ on Pinterest – using the platform to inspire you to do things that bring positivity into your life.
Entry credits
- Josh Williams, Head of Technology , Mediahub
- Krishan Vadher, Software Engineer, Mediahub
- Nick Sikora , Planning Group Director, Mediahub
- Mike Follett, CEO, Lumen
- Erfan Djazmi, Chief Digital Officer, Mediahub
- Tomasz Palucki , Campaign Manager , Matterkind
- Jug Mattu , Associate Activation Director, Matterkind
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Company
DEPT®
Client
Just Eat Takeaway.com
Summary
In May 2021, Just Eat Takeaway.com came to us with a question. How do we produce global creative that helps solve local market problems?
We started by taking a step back and reviewing Just Eat Takeaways existing creative strategy. We identified four main areas we needed to find solutions to.
Repeating ourselves
Serving very similar ads across lots of different media objectives.
Same messages to different audiences
Using the same messaging across all markets, languages and buying stages
Stuck in manual
Losing time manually producing very similar assets from scratch.
Not testing enough
Not learning enough from the current creative to achieve more effective ads.
Enter Project Sundae…
Entry image
Entry video
Entry credits
- Rich Burgess, Global Principal, Brand Digital & Social, Just Eat Takeaway.com
- Amy Short, Senior Global Digital & Social Media Manager, Just Eat Takeaway.com
- Tiago de Sousa, Senior Global Digital & Social Media Manager, Just Eat Takeaway.com
- Luke De Benedictis, Global Digital & Social Media Manager, Just Eat Takeaway.com
- Alex Dixon, Business Director, DEPT®
- Olivia Ellenger, Group Account Head, DEPT®
- Christian OBrien, Lead Account Planner, DEPT®
- Dominic Edwards, Account Executive , DEPT®
- Lauren Chester, Director of Tech, DEPT®
- Florencia Obert, Senior Lead Tech Planner, DEPT®
- Greg Wakefield, Lead Automation Designer, DEPT®
- Alex Callow, Developer, DEPT®
- Stephanie Rost , Tech Executive, DEPT®
- Amber Fryer, Senior Lead Designer, DEPT®
- Darko Vidanovski, Motion Designer, DEPT®
- Marco Gogić, Motion Designer, DEPT®
- Jordan OConnor , Lead Motion Designer, DEPT®
- Jack Pearson , Lead Motion Designer, DEPT®
- Abu Kaeser , Motion Designer, DEPT®
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Company
Happy Finish in collaboration with 8th Wall and Chain Reaction
Client
adidas
Summary
Reunion of Giants, a world first campaign to engage a new generation of sports fans for the first World Cup in the Middle East.
To achieve this, Happy Finish deployed a 360-degree integrated campaign that touched multiple marketing channels of Adidas, including TV, print, social media, OOH, and experiential.
Each channel was tailored to provide a unique experience that showcased two of the biggest names in world football, Lionel Messi and Karim Benzema, as true giants of the sport. This included an innovative AR experience, a global first, that synchronised with the content displayed on the Burj Khalifa, the world's tallest building.
An unforgettable campaign that exceeded all engagement benchmarks and one that truly embodied adidas' brand attitude of 'Impossible Is Nothing'.
Entry image
Entry video
Entry credits
- Lyndon Greenlees, Director of Strategic Partnerships, Happy Finish Ltd
- Alex Lambert, Creative Director, Happy Finish Ltd
- Erfan Saadati, Executive Producer, Happy Finish Ltd
- Diana Mendez, Associate Content Marketing Manager, 8th Wall
- Bahaa Khasawneh, Account Director, Chain Reaction
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Company
Sky/EssenceMediacom/Quantcast
Client
Sky and EssenceMediacom
Summary
With the transition to a cookieless future on the horizon, it's imperative for digital marketers to adapt quickly and continue to innovate. Google currently has the cookieless change in Chrome scheduled to take effect in 2024; however, a significant portion of internet activity is already occurring in environments without cookies. Consequently, those who fail to advertise on cookieless inventory risk losing out on valuable opportunities.
Fortunately, the Quantcast Platform offers a robust technological solution that enables marketers to understand their audience and take advantage of cookieless inventory early. This technology provides brands and agencies with lower costs and enhanced performance due to limited competition for cookieless inventory. With the Quantcast Platform, marketers can future-proof their operations and experiment with ease.
Sky Mobile sought to increase sales by leveraging messaging highlighting the latest phone models, new feature set, and value. Building on a successful prospecting campaign with Quantcast, their agency, MediaCom, knew they could deliver even more impact with a new strategy. Understanding that over 50% of internet audiences are not addressable with third-party cookies, they wanted to find these missing audiences, driving incremental conversions with cookieless advertising.
Entry image
Entry credits
- Peter Honey, Digital Senior Associate Director, Mediacom
- Lindsay Russell, Digital Marketing Lead , Sky
- Davide Sirtori, Head of Digital, Sky
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Company
Yieldmo
Summary
Yieldmo is the only Smart Exchange, and designed to help advertisers purchase inventory effectively. We have specialized creative formats that are more engaging to consumers, which allow us to capture smart signals like attention signals. We’ve then combined that data into our smart curation engine which allows us to differentiate in real time.
At Yieldmo, we are innovating. We are taking our proprietary advertising units and our curation capability and are the first exchange to bring those together to maximize outcomes and unlock value better than anyone else. And we do this in a really easy way.
Yieldmo's newest offering, Dynamic Format Optimization (DFO), is poised to bring the last mile of performance gains, post-auction optimization, to the investment mix at scale. Dynamic Format Optimization works by transforming a brand’s existing creative assets into Yieldmo’s suite of programmatic-friendly creative formats called Frictionless Formats, and uses machine learning and AI to select the most performant creative format in real-time, with no additional lift from the advertiser. The assets remain DSP hosted and there is no additional build-step or custom workflow. Since the optimization happens post-auction, after the impression is won, DFO does not reduce scale or affect spend, it simply performs better.
Entry image
Entry video
Entry credits
- Eric Shiffman, VP, Product Marketing, Yieldmo
- David Sebag, SVP, Product Management, Yieldmo
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6
Search
Description
For a search strategy or campaign that resulted in impressive results and engagement.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Circus PPC Agency
Client
Miele
Summary
Circus PPC helped Miele, a high-end household appliance brand, to optimise their product feed and ultimately, help to drive a 30-day revenue increase of 275%, and a sales increase of 400%, across their 'vacuum' product area.
Upon receiving extra budget, the agency looked at how they could best maximise budget efficiency, which ultimately led them to re-imagine how Performance Max campaigns could be edited and explored to better drive revenue in desired areas, and inspire the algorithm for more visibility across individual products.
The results saw huge uplifts in revenue, ROI, and sales, along with a significant decrease in cost-of-sale for the client. Following the success of the campaign, the client expressed their interest in continuing to put budget into testing, and Circus won the Miele Ireland account, further strengthening their relationship with the client.
We expected that the first group, as a result of the keywords within the shopping feed sending advanced, more informed signals to the Google Shopping algorithm, would perform better than the second group.
Entry image
Entry credits
- Meg Wilson-Taylor, Operations Manager, Circus PPC Agency
- Donya Broadhead, PPC Executive, Circus PPC Agency
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Company
Propellernet
Client
Holland & Barrett
Summary
Holland & Barrett is a multinational chain of health food shops with over 1,300 stores in 18 countries worldwide and a strong global ecommerce presence in the health food sector. The search results in this niche are extremely competitive, and the bar is set high as all content needs to demonstrate a high degree of expertise, authority, and trustworthiness.
The team approached us for support in increasing their non-brand rankings, traffic and organic revenue for a site that was already very well-built and ranking well. Through in-depth audits and implementation and working collaboratively with their in-house SEO team on both training and output, we were collectively able to make consistent, iterative improvements to an already well-performing site, which resulted in significantly increased non-brand rankings, an improvement to the site’s Core Web Vitals, and ultimately increased non-brand organic traffic and revenue.
Entry image
Entry credits
- Dave Peiris, Head of SEO & Product, Propellernet
- Daniel Coleman, Senior Tech SEO, Propellernet
- Alec Ranford, SEO Manager, Holland & Barrett
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Company
RocketMill
Client
Sky Betting & Gaming
Summary
The Cheltenham Festival is one of the most lucrative events for the betting market, and Sky Bet challenged RocketMill to drive growth in first-time deposits, achieving reduced cost per conversion year-on-year.
To meet this challenge, RocketMill combined automation, relevance, and best practice to improve efficiency and increase revenue. Overhauling the campaign structure, splitting it into four key campaigns to have greater control over budgets, we covered every single race and horse running over the five days with bespoke keywords and ad copy. This meant creating 308 unique ads, a mammoth task automated using Google Big Query, data feeds, and scripts.
As a result, we grew FTDs 125% while reducing cost per acquisition by 47%. The campaign also saw significant gains in click-through-rate, increasing 209% and a 43% increase in CVR.
Entry image
Entry credits
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Company
BT
Summary
Our small team of three journalists and an SEO expert revamped our content strategy for BT TV to drive improved organic traffic to our site, which resulted in an impressive 199% increase in traffic from April 2022-March 2023. We shifted from a scattergun approach to a more precise and analytical approach, focusing on high value shows and upcoming trends. Key shifts in the content strategy included using past search data to decide on a smaller group of shows to focus on, exploring opportunities around ‘supporting’ and ‘secondary’ keywords to create articles that were more precisely targeted around users search intent, that previously would have been crammed into a single article.
Our new strategy peaked on the performance of Stranger Things Season 4 content, which was released in May and July 2022. We aimed our targeting around these previous ‘secondary’ keywords and created bespoke content for each term, ranking first for ‘Stranger Things Season 4 Cast’ with our cast article and tripling our highest ever page views for an article.
We learned to adopt a ‘build, measure, learn’ approach to creating content, adopting successes from Stranger Things for shows later in the year and quickly dropping underperforming content. Adopting the ‘Stranger Things approach’ later brought in substantial clicks for Strictly Come Dancing content and impressive numbers for other shows. This was all within an incredibly competitive landscape, as we competed against some of the industry’s largest media publishers with teams of over 20 journalists.
Entry image
Entry credits
- Alex Williams, Content SEO Manager, BT
- Alex Fletcher, Content Designer, BT
- Sophia Moir, Content Designer, BT
- Rhys Lewis, Content Designer, BT
- Michelle Marchant, Product Owner, BT
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Company
StrategiQ
Client
Factory Direct Flooring
Summary
How do you combine a competitive market with an algorithm shift to combat a drop in demand and a contracting customer base? By methodically approaching a search recovery strategy using a proven and consistent Hypothesis>Validation>Action framework.
Factory Direct Flooring (FDF), a UK-based flooring ecommerce outfit, benefitted from the DIY boom during “Lockdown 1”, which created a sharp rise in orders and demand. As people rushed to update their homes with new flooring, rankings were at their highest (FDF ranked 5th for “flooring” UK), giving the client the confidence to move into a larger warehouse. The continued rise in sales and increase in visibility, however, was temporary.
StrategiQ worked with FDF to improve their visibility and increase their chances of capturing new custom in a challenging market. StrategiQ was quick to identify that the site was being held back by Google algorithms, which combined with a drop in demand, led to a dramatic drop in visibility and organic revenue between Jan-Jun 21. This hit the business hard due to reliance on organic traffic (69% in Q1 2021).
What followed was a radical recovery strategy over the next 12 months, with a modest monthly retainer. We pulled on industry best practices, in-house expertise and industry hard hitters for advice to ensure we created business-changing results. The journey back to full fitness would mean a future proofed ecommerce function demonstrating the strength of our agency and client partnerships in a crisis.
Fig 1: supporting evidence - impact of Google algorithms
Entry image
Entry credits
- Phillip Pratt, Head of SEO, StrategiQ
- James Bavington, Chief Experience Officer, StrategiQ
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Company
NOVOS
Client
Piglet in Bed
Summary
A 179% increase in non-branded organic search is no easy feat, but that’s exactly what NOVOS’ flourishing partnership with Piglet in Bed has accomplished.
The fast-growing UK-based bedding brand had already found their niche in the market with the help of paid marketing when we started working with them in August 2021. However, they were looking to reduce overall marketing spend while still meeting their ambitious growth objectives in both the UK and their newly-launched US market. Not ones to sleep on the job (despite Piglet’s tantalisingly cosy offering), we devised a strategy that combined both technical SEO and Digital PR techniques to hit their targets and make their dreams come true.
Our strategy improved Piglet in Bed’s overall rankings, heightened their authority on topics related to “linen bedding” in Google, boosted results in their new US market, and won them a top 5 spot in SERPs for their primary keyword goals (outranking big-name competitors in the UK). To top it all off, they also enjoyed a 7% increase in revenue while reducing overall spend on campaigns by over 21%!
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Entry credits
- Michael Coleman, Head of Business Development, NOVOS
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6
Data/Insight
Description
This category will recognise campaigns and strategies that were driven by data and insights. You should demonstrate elements such as segmentation or targeting to improve the end users' experience with a brand, product or service.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Captify
Client
eBay
Summary
eBay is one of the world’s leading marketplaces for online second-hand buying and selling.
In June 2022, eBay partnered with Captify and EssenceMediacom to deliver a dynamic video activation powered by Search Intelligence—with the campaign driving an uplift in organic incremental searches for eBay among three unique audiences: resellers, collectors, and buyers.
The Covid-19 pandemic further accelerated frugality, sustainability and environmental concerns—with online thrift shopping skyrocketing as platforms such as Depop and StockX emerged. Therefore, eBay worked with EssenceMediacom and Captify on a comprehensive data-driven strategy to reconsolidate its presence as the go-to platform for thrift shopping, as well as highlight its authenticity guarantee to brand-loyal and quality-seeking shoppers in-market for sneakers.
Using Captify’s dataset of over 1 billion searches a day, EssenceMediacom and Captify delivered a Dynamic Video activation to reach multiple audiences—with the strategy proving highly successful in capturing search share of voice, driving brand search uplift, powering audience engagement as well as informing eBay’s wider strategy for future campaigns.
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Entry credits
- Callum Crown, Client Director, Sales, Captify
- Courtney Taylor, Creative Designer, Captify
- Elizabeth Sanders , Account Director, Captify
- Naz Gungor, Digital Director, EssenceMediacom
- Amy Lawrence, Digital Director, EssenceMediacom
- Ciara Lafferty-Mathieson, Digital Executive, EssenceMediacom
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Company
Fifty & AKA US
Client
Harry Potter & The Cursed Child
Summary
Fifty is designed to understand the humans behind the data. Our insights are gathered from social listening, social following, and bio keywords across social channels to uncover and group together ‘tribes’ based on interests, motivations and more for bespoke audiences and tailored media activations. Our client was in need of our exact offerings, seeking to unveil the ‘superfans’ within a historically global franchise.
Harry Potter & The Cursed Child, the theatre production created as a sequel to the bestselling series, was looking to revitalise their Broadway play. As a production they work with AKA US, who recruited Fifty to assist the play with a full funnel promotional campaign.
The London-based production had reopened in New York City, and was looking to optimise their ticket sales for non-UK audiences, getting ads in front of the people who are most likely to research and attend the show, while avoiding groups who remain wary of enclosed events post Covid-19. Our unique platform algorithm broke down the client's vast audience into 5 specific and high intent ‘tribes’ that would be likely to engage with ad creatives. We were able to understand not only the passion points of the audiences, but the online behaviours, allowing for precise targeting in our campaign. By custom tailoring ad delivery to each tribe we successfully delivered above benchmarks, producing a 6.8x ROAS and nearly £1.2 million in sales over one year.
Entry image
Logo Dark.eps
Entry credits
- Lee Brisco, Head of Programmatic, Fifty
- William Taylor, Programmatic Manager, Fifty
- Robbie Scott, Performance Director, Fifty
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Company
ITV
Summary
How do you launch a new streaming service in a saturated market at the noisiest time of year? This was the immense challenge faced by the ITV Marketing team to launch ITVX; the freshest new streaming service. To launch a successful campaign during the World Cup and the holiday season, we needed to leverage our data and insights strategically to reach our ambitious targets and connect with our audiences.
We obtained a unique level of customer insight by conducting a groundbreaking first-party audience segmentation project to apply a 360-degree view of the TV/VOD market and extrapolate this out to our own 33 million first-party dataset.
By leveraging the capabilities of a powerful Customer Data Platform (CDP), internally named Flex, ITV were able to become a customer-oriented brand by merging comprehensive market research with precision of first-party data. This provided insight into our customers’ digital behaviours contextualised with market-level data points, providing a well-rounded understanding of customer motivations.
Using this common set of insights for strategic decision-making across all business domains, combined with Flex's integrations into key media channels, Marketing could now activate hundreds of personalised multi-touch campaigns with consistent messaging. The enrichment of data and insight from Flex enabled ITV to achieve extraordinary results from our launch campaign, including:
100% increase in marketing contribution to total streaming hours (vs pre-launch).
70% increase in marketing contribution to active users (vs pre-launch).
Doubled CRM and improved paid media conversion rates
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Entry credits
- Oliver Fisher, Director of Media , ITV
- Ruby Campbell, Senior Media Capability Manager, ITV
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Company
GumGum & Playground xyz
Client
Domino's
Summary
For their ‘50% Off Value’ campaign, Domino’s sought to ensure maximum cut-through in the increasingly crowded fast food market. In particular, they were keen to explore how a new application of attention signals could supercharge their contextual targeting strategies and secure maximum consumer consideration.
In a world-first collaboration, GumGum and Playground xyz - the respective leaders in contextual and attention-based solutions - offered Domino’s the opportunity to utilise a powerful fusion of their VerityTM and Attention Intelligence Platform technologies.
Utilising the unrivalled contextual understanding of VerityTM to find the most relevant, brand-safe environments, AIP then optimised delivery to the contextual categories securing the highest levels of Attention Time - how long, in seconds, consumers were actually looking at the Domino’s ads.
Needless to say, this innovative fusion secured incredible results for Domino’s, not only achieving uplifts in major campaign KPIs but also in direct brand outcomes. Context + Attention. The future of digital advertising.
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Entry video
Entry credits
- Kerry Morrow, Senior Media Manager, Dominos
- Stefan Schoombee, MX Partner, Havas Media Group
- Chris Clarke, Programmatic Account Director, Havas Media Group
- Jessica Teasdale, Senior Sales Manager, Playground xyz
- Oliver Nash, Group Digital Director, GumGum
- Hannah Auld, Programmatic Campaign Manager, Playground xyz
- Olivia Barnes, Account Manager, GumGum
- Nick Crowe, Marketing Lead, Playground xyz
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Company
Havas CX helia
Client
Lloyds Banking Group
Summary
The Brief
Halifax's ambition is to move from a product-centric to a customer-centric approach. Our brief was to build a relationship above and beyond functional product relationships. We'd do so by applying data insights to help customers see their bank as a genuinely useful partner, rather than simply a financial services provider.
The Strategy
Faced with the shocking fact that 47% of UK adults lack confidence in managing their money, we planned an integrated comms experience around the key moments in our customers' financial lives. Applying data insight and personalisation to make every communication helpful, informative, and inspirational. We called it 'On the Money'.
The Creative Solution
To design a customer journey through 1-2-1 channels: a programme that worked to build individual customer confidence through personalised insights and recommendations. A monthly Payday Eve email helped customers take regular stock of their finances, while New Year and Mid-Year playbacks identified personalised financial opportunities based on recent behaviour.
The Results
The average CTD rate for these emails was almost 3x the Lloyds Banking Group benchmark, with average customer dwell time post-click more than double the benchmark. What's more, customers took meaningful actions after these communications. And they told us that the programme makes them feel more favourably towards the brand.
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Entry video
Entry credits
- Ben Knight, Executive Creative Director, Havas CX helia
- Claire Hutchinson, Account Director, Havas CX helia
- Jon McWee, Experience Lead, Havas CX helia
- Laura Burnell, Senior Account Manager, Havas CX helia
- Nadia Mkinsi, Senior Planner, Havas CX helia
- Ben Matthews, Planning Director, Havas CX helia
- Tim Bax, Head of Copy, Havas CX helia
- James Casey, Client Partner, Havas CX helia
- Ashley Kursey, Midweight Designer, Havas CX helia
- Alex Barnett, Midweight Designer, Havas CX helia
- Rosalind Hadley, Midweight Copywriter, Havas CX helia
- Tony Wellor, Senior Copywriter, Havas CX helia
- Lynne Smith, Proofreader, Havas CX helia
- Sarah Betteridge, Senior Marketing Manager, Lloyds Banking Group
- Libby Anderson, Assistant Content Manager, Lloyds Banking Group
- Harriet Saralis, Content Manager, Lloyds Banking Group
- Alana Abrahams, Assistant Content Manager, Lloyds Banking Group
- Chris Davis-Coward, Head of Engagement & Value Generation – Consumer Relationships, Lloyds Banking Group
- Carly Sullivan, Planning Manager, Lloyds Banking Group
- Dan Mogg, Senior Marketing Manager, Lloyds Banking Group
- Jas Kaur, Content Manager, Lloyds Banking Group
- Sophie Perkins, Assistant Content Manager, Lloyds Banking Group
- Ellie Johnson, Assistant Content Manager, Lloyds Banking Group
- Alex Collyer, Planning Manager, Lloyds Banking Group
- Sam Bennet, Assistant Content Manager, Lloyds Banking Group
- Holly Vallerius, Assistant Planning Manager, Lloyds Banking Group
- Yasmin Carpenter, Assistant Content Manager, Lloyds Banking Group
- Nick Baker, Lead Strategist, Stick & Twist
- Anna Laird, Strategy Partner, Stick & Twist
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Company
TUI / Braze
Summary
Cost per acquisition for the app was lower than other channels so growing app engagement was a strategic imperative. We wanted to transform our mobile customer experience by creating cutting-edge app features, complemented by a suite of engaging, always-on messages to keep customers connected to TUI throughout their holiday journey.
By leveraging insights and responding to real-time behavioural events with hyper personalised content, geo-location-based tracking, and AI across multiple mobile channels, we ensured messages were relevant to each customers indicated or predicted needs at each phase for maximum impact.
Real-time mobile content and prompts were rolled out using a standardised approach across 8 markets, to create a connected mobile experience for all TUI customers globally.
Achieved 118% growth in customers using the app to book and whilst on holiday. The proportion of all TUI holiday sales generated by the app increased 78% and the sales of ancillary products grew 205%.
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Entry video
Entry credits
- Michael Bowler, Global Head of CRM Marketing & CRM Capability, TUI
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5
B2B
Description
For a strategy or campaign created for any B2B sector organisation, service or project.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness, and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Kantar Profiles
Summary
Our team is committed to being a revenue generating, strategic function of our business. However, faced with “pandemic-level” budgets, the Profiles division of Kantar was challenged in being just that. Our strategy for 2022 was a content lead one – primarily utilizing our owned channels.
We develop an extensive amount of content and thought leadership on the topics of survey research, engaging online panellists and quality data. Because we own our own research panels, we also have the unique ability to field our own research and generate compelling content on topical issues.
It was clear we had wide range of content to attract prospects and engage clients. We needed a succinct way of launching new content and nurturing prospects – while ensuring we meet our team objectives around demand generation. By creating four fully integrated evergreen campaign pillars with unique context, objectives, and goals, we successfully attracted the right prospects and engaged with them using the right content at the right time – seeing a 9.3x return on our investments.
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Entry credits
- Dionne Aiken, CMO, Kantar
- Jacqueline Amaral, Global Marketing Director, Kantar
- Christine (Yu-Hsuan) Chaung, Marketing Assistant, Kantar
- Alissa Neibert, Art Director , Kantar
- Eric St. Furcy, Mulit-Media Specialist, Kantar
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Company
Twitch
Summary
Bored by classical music, aspiring to picture-perfect posts, motivated by bling and VIP status, sensitive and individualistic. It’s a view of young adults that’s familiar to anyone listening to media commentators – or reading marketing briefs. It’s what everyone thinks they know about Millennials, Gen Z and increasingly Gen Alpha. But what if everything we think we know no longer holds true?
Twitch isn’t just a world leading livestreaming service. It’s also the digital playground of choice for young adults with purchasing power – the generations that are taking over the global economy. In working with these generations, Twitch observed a very different set of values and attitudes taking shape. They saw an audience that is purposeful, collaborative, inclusive, and prizes authenticity and spontaneity over idealised images of perfection.
Twitch believed that outdated assumptions now needed updating - urgently. Through groundbreaking semiotic research and in-depth surveys of the global Twitch audience, Twitch proved the existence of a new cultural force that is moving engagement with media and marketing in a very different direction: Generation Twitch.
To introduce Generation Twitch to the world, the livestreaming service launched its first ever global B2B campaign, smashing engagement benchmarks for branded content. Generation Twitch had changed the marketing game.
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Entry credits
- Adam Harris, Global Head, Custom Solutions, Twitch
- Alex Maguire, Insight & Measurement Director, EMEA , Twitch
- Paul Nesbitt, Director, International Measurement & Insights , Twitch
- Kay Taylor, Sales Marketing Content Lead, EMEA , Twitch
- Irene Siah, Sales Marketing Content Lead, APAC , Twitch
- Josh Penacerrada, Sales Marketing Designer, EMEA , Twitch
- Emily Porter-Salmon, Director, Sign Salad
- Laura Chamberlain, Managing Director, Sign Salad
- Sophia Lucena Phillips, Semiotician, Sign Salad
- Adam Short, Co-founder , The Point
- Alex Nketiah, Co-founder , The Point
- Ollie Willis, Co-founder, The Point
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Company
TMW Business
Client
Capita
Summary
Capita has over 30 diverse (and sometimes quite niche or complex) product and service offerings for central and local governments. But it’s no lie that this is a challenging audience to approach. Hard to reach. Long purchase cycles. And rigorous procurement frameworks.
Despite that, our client wanted to create a stable long-term MQL pipeline for sales follow-up. We do love a challenge.
The overall aim? To create a stronger connection with government decision makers across the UK, embedding Capita as a key partner. Naturally, such a complex objective requires a multi-part solution.
For awareness, we built presence and credibility for Capita in the government space by developing sibling umbrella campaigns: one for ‘Productivity’ and one for ‘Citizen Experience’. Both aligned to real challenges and audience ambitions.
The creative showed small steps leading to long journeys, and short conversations leading to big decisions, using Capita’s brand barcode-style lines. Both approaches were chosen after careful, in-depth conversations with our audiences.
Next, we designed a streamlined content engine framework, which included SME interviews, a messaging house, propriety research and bespoke, gated content. All underpinned by supporting content. No expense spared, here.
These campaigns are still live and going strong. But so far, we’ve greatly exceeded expectations. Within the first six months, we’ve generated over 600 Marketing Qualified Leads (MQLs), when the client was expecting between 30 and 50. That’s a resulting pipeline of £440m. And the client has already closed £880K of revenue! That’s what we call a success.
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Entry video
Entry credits
- Richard Stagg, Associate Planning Director, TMW Business
- Sean Clayton, Head of Design, TMW Business
- Tom Rippon, Senior Copywriter, TMW Business
- Stephen Hastings, Account Director, TMW Business
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Company
April Six Mobility
Client
Scania GB
Summary
An influx of used Scania stock highlighted the need for a complete review of their used vehicle business. The market was running on the old model of selling from the forecourt, through listings and classified ads. There was little to convince the customer on what was a product-led buying journey. Consumer insight revealed time-pressed customers were showing less loyalty when it came to used. With homogeneity and price sensitivity an issue, customers were inclined to switch to competitors offering similar product that was more affordable. Research told us customers were looking for flexibility, choice and reassurance, but the market wasn’t delivering.
A complete re-evaluation of Scania’s commercial used proposition resulted in the creation of Scania Go. A brand-new used programme that passed control to the customer (“Used vehicles, your way”), letting them choose service, assurance and finance packages for their business. Clearly laid out, unique to the market benefits, no quibble guarantees and crystal-clear grading steered customers towards choosing their vehicle.
Fundamental repositioning to a customer-driven service, assured customers that buying used direct from Scania with its unmatchable guarantees justified a premium price tag on the promise of a premium service from a premium brand. It was used without compromise – an industry first.
Scania Go was, and still is, pioneering in this sector. Go placed used firmly in the digital world. It was the first brand to present to its customers a truly customer-first experience, empowering the used buyer with a programme that offered both flexibility and choice.
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Entry credits
- Marina Guirey, Senior Planner, April Six Mobility
- David Dent, Planning Director, April Six Mobility
- Henry Debenham, Client Services Director, April Six Mobility
- Damian Scott, Creative Director, April Six Mobility
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Company
The Croc
Client
ABAX
Summary
Equipment tracking firm ABAX helps construction firms prevent theft. But hard to reach and harder to impress, how could we connect with the UK’s builders?
Ironically, the best way to get a builder to take something seriously is by making them laugh. The hero stunt in the series, hosted by construction influencer Ryan Belcher, sees a builder lose their entire inventory overnight. Then, the next day, mid-meltdown, all the drama is resolved by ABAX, which instantly locates the equipment via GPS.
With 11m video views, 154k click-throughs and a +195% increase in web visits our campaign totally changed the B2B marketing game.
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Entry video
Entry credits
- Nick Watmough, Creative Director, The Croc
- Fred Barber, Copywriter, The Croc
- Jordan Perez-Hughes, Art Director, The Croc
- Shara Jamani, Account Director, The Croc
- Nina Klausen, Media Director, The Croc
- Chris Tongeman, ECD, The Croc
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6
Metaverse
Description
This category will recognise campaigns and strategies focussing on the metaverse.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
LinkedIn Marketing Solutions
Summary
The FinServ industry sits on the precipice of significant transformation. Changing customer expectations, technological innovation, global disruption and new business models will propel a decade of change set to redefine the industry for good. For the marketers supporting banks, asset managers, payment companies and more, the opportunities are boundless as the realities of a newly emerging environment are realised.
In partnership with The Future Laboratory, LinkedIn Marketing Solutions created The Finfluence Report. Leveraging proprietary interviews with our Finfluencers - academics, trends-watchers, futurists and economists - and marketing leaders from around the world, as well as the might of LinkedIn’s own insight, we surfaced six emerging industry trends and explored them in the metaverse. The report provided insights and practical tips for marketers navigating this evolving landscape.
As the metaverse explodes in popularity, FinServ firms are entering a new era of limitless immersive engagement set to transform the future of marketing. The metaverse is celebrated for its transformative potential, as something much more profound than just another iteration of the world wide web. And FinServ firms are already exploring its benefits.
Given the alignment to the report, LinkedIn Marketing Solutions chose to host a VIP event for our high-value CMO contacts in the metaverse, holding a fireside chat to talk about these trends in action, to both educate and inspire our audience. The event drove positive amplification from nearly one in four attendees on LinkedIn, with industry leaders describing it as “ground-breaking”, “unique”, “wow” and “brilliant!
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Entry video
Entry credits
- Terry Rand, Head of Vertical Marketing, LinkedIn Marketing Solutions
- Elspeth Rothwell, CEO, Vested Communications
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Company
Post For Rent Group - The Hello Group
Summary
The past years have been tough ones for everyone. We've all had to adapt to a new way of life, and many of us have struggled. One silver lining of the pandemic, it has created a more significant demand for digital places, channels, and environments like Metaverse. Religious communities also had to find new ways to keep their habits, events, and celebrations without personal meetups. As a great solution, we were excited to build up the first-ever Rabbi-certified Synagogue in the Metaverse.
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Entry credits
- Zoltan Keresztessy, Business Development Director, Post For Rent Group
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Company
Sony Music UK’s 4th Floor Creative & Columbia Records / Sony Music Global Digital Business Development / MELON / Roblox
Client
Sony Music UK’s 4th Floor Creative & Columbia Records • George Ezra
Summary
George Ezra’s Gold Rush Kid Experience offered fans a gamified concert experience set within a whimsical environment inspired by George lyrical world. MELON, a Metaverse development studio with deep experience in music events, created a world environment set in snow-capped alps, featuring a Gold Rush Kid shop and town built with a touch of the surreal – all of which expanded on scenery from George’s album artwork for ‘Gold Rush Kid’. The experience included mini games such as a puzzle piece hunt, photo booth, timed plane ride and a quiz where fans could test their knowledge of George Ezra.
The experience featured a concert weekend, launching on Saturday 31st July with an avatar performance re-airing hourly through Monday 1st August 2022, the concert featured a performance by George’s avatar if his top hits, ‘Anyone For You’, ‘Dance All Over Me’, ‘Budapest’ and ‘Green Green Grass’.
During the lead-up and the concert weekend, the Gold Rush Kid Experience attracted 860,000 unique visitors, a total of 2.5 million event weekend visits and 50,000+ total hourly visits at launch.
Fans chose from an array of virtual merchandise as souvenirs from the Experience - fan favourite pieces included the conductor emote, a memento of the train travel inspired environment of George’s ‘Budapest’ performance – downloaded 849,000+ times.
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Entry video
Entry credits
- . ., ., Sony Music UK
- . ., ., Columbia UK
- . ., ., MELON
- . ., ., 4th Floor Creative
- . ., ., Roblox
- . ., ., Closer Artists
- . ., ., Sony Music Global Digital Business
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Company
Heineken / dentsu X Red Star UK / Le Pub
Client
Heineken UK
Summary
How can a famous brand like Heineken reinvent itself for a new generation? By creating one of the biggest category launches of the decade – in the metaverse.
Like other beers, Heineken faced a challenge. The new generation of drinkers – Gen Z – weren’t drinking it, so Heineken created a new, lower-alcohol, less-bitter lager better suited to their tastes: Heineken Silver.
To launch Silver, we ripped up the beer marketing playbook. Our target audience was spending time in new and exciting virtual, shared worlds, and Heineken needed to connect with them in a new way.
Our solution? ‘EXTRA FRESH, FOR REAL’, an integrated, inclusive, and inventive media experience that made Heineken Silver the first beer of the Metaverse.
How did it work? We built a Heineken Silver brewery within Decentraland, a web3 virtual world, where users joined influencers to party and ‘taste’ a virtual sip of the new ‘extra fresh’ beer. We built intrigue with social and iconic out-of-home sites, and gave audiences the chance to make their virtual ‘taste’ real via a sampling campaign driven by first-party-data.
The campaign took Heineken where no UK beer brand has gone before. Consideration and trial of Silver both soared, lots of sales were incremental to the beer category, and consumption was heavily skewed to Gen Z.
The campaign serves as compelling proof that a bold strategy – fuelled by audience insights and the metaverse – can inspire a new brand to succeed.
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Entry video
Entry credits
- Stephanie Dexter, Marketing Manager, Heineken
- Zach Jordan, Senior Brand Manager, Heineken
- Katherine Arnot, Brand Manager, Heineken
- Lee Mabey, Managing Partner, dentsu X Red Star
- Tom Ladlow, Strategic Planning Director, dentsu X Red Star
- Alex May, Managing Partner, Strategy, dentsu X Red Star
- Jessica Smallman, Client Partner, dentsu X Red Star
- Patrick Gorman, Client director, dentsu X Red Star
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Company
V.I.A & L&B / Carat
Client
Mastercard
Summary
For Pride month in 2022, Mastercard® continued its longstanding support of the LGBTQIA+ community through 'Your True Self is Priceless', an omnichannel campaign celebrating the power that comes from embracing and living as your authentic self.
The 'Your True Self is Priceless' campaign extended into the Metaverse, activating in Blockchain based world Decentraland, where Mastercard developed the ‘Mastercard Pride Plaza’ a unique building that enabled access to Pride events and resources and brought the campaign to life - globally.
The Plaza is a 64 x 80 metre multi-level, open-air building that included concerts, a wearables boutique promoting 6 LGBTQIA+ designers clothing and a community / donation centre supporting Mastercard’s long time charity partner GLAAD. Mastercard sought to bring Pride to those who couldn’t attend in real life, connecting everyone to Priceless possibilities by creating three ‘Digital Twins’ of Mastercard sponsored floats from Brazil, Amsterdam and NYC and a forum hosting multiple sessions and Q&As from LGBTQIA+ leaders .
The venue included a gallery of ‘letters to younger selves’, with community members writing in and reading moving letters of encouragement to themselves at an earlier, challenging period of their lives.
The results were excellent, beating visitor targets by 159% , a dwell time of 10 minutes, 16,000 Mastercard branded and creator wearables distributed, visited by over 35 countries, appearing in 164 publications and voted by Ad Age as the No1 Pride activation. And most importantly, promoting Inclusion in this new landscape, because being your true self in the Metaverse, is Priceless.
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Entry video
Entry credits
- Dudley Nevill-Spencer, Innovation and Research Director, Live & Breathe
- Kerry Elsdon, SVP Global Brand Strategy and Innovation, Mastercard
- Michael Liu, SVP - Head of Innovation, Carat
- Cordelia Nevill-Spencer, Metaverse Project Director , Virtual Influencer Agency
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Company
THE FIFTH
Client
AELTC - Wimbledon Championships
Summary
Among the first brands moving into the Metaverse was Wimbledon in 2022 with their own digital interactive space, The Virtual Hill. A challenge-based experience, it allowed users to react to the events of The Championships on each day of play through gameplay and exploration of the virtual Wimbledon world.
Naturally, Wimbledon needed to raise awareness of the activity and drive its audiences to sign up to play. That’s where THE FIFTH came in.
We realised that we needed to maintain the luxury heritage of Wimbledon, while balancing it with this playful and innovative space. To do this, we set out to recruit the next generation of tennis fans (children aged 6-11) via their legacy-fan parents, driving familial competitive spirit to reel our audiences in.
So #ChampionOfTheHill was born - an energy-filled unmissable campaign, with action at every swipe. Blending the real world with Wimbledon's virtual one, we set out the ultimate influencer competition, pitting real life influencer families against one another in the virtual world using the daily challenges and encouraging their audiences to try and beat their score and win daily prizes.
We drove over 3,000 people to the Virtual Hill which was our main goal.
We also drove a 5% average engagement rate on Instagram (vs our benchmark of 1.2% - according to the Influencer Marketing Hub).
In terms of getting our content seen, we overachieved on impressions targets by 58%.
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Entry video
Entry credits
- Jess Myers, Business Director, THE FIFTH
- Rommel Reddock, Account Manager, THE FIFTH
- Alice Thompson, Creative Strategy Lead, THE FIFTH
- Joel Newman, Senior Creative, THE FIFTH
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3
Innovation
Description
This category will reward the best use of innovation in a campaign or strategy.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company/Agency
Hilton
Executive summary
A Stay On The Green by Hilton is a fully functioning, replica hotel room of the Hilton Imperial Dubrovnik - with a twist, this room is located on the golf course at Jumeirah Golf Estates, Dubai. Planned in the UK and executed in Dubai for the week of the DP World Tour Championship, this new concept was brought to life with 3 main goals in mind:
1. Promote the new global brand campaign ‘Hilton For The Stay’, showcasing the importance and value of where you stay, because at Hilton The Stay is at the heart of who we are and of everything we do.
2. Highlight the exceptional service and hospitality that only Hilton can deliver – a true replication of an on-property experience.
3. Increase awareness of Hilton’s partnership with DP World Tour and showcase money-can’t-buy experiences Hilton offer to their Hilton Honors Members.
What better way to achieve these goals than to build a Hilton hotel room, directly on the golf course?
During the week, TV personality and golf fanatic Chris Hughes and European Ryder Cup Captain and Hilton Ambassador Luke Donald were invited to be the first to experience this unbelievably unique overnight stay, followed by Hilton Honors members who bid their points towards winning this experience. These lucky guests and golf fans could then enjoy all the elements of a Hilton stay and the DP World Tour Championship, from the best seats in the house.
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Entry video
Entry credits
- Mathieu Demarquis, Director, Strategic Partnerships, Global Marketing & Loyalty, Hilton
- Kate Dixon, Director, Loyalty, Partnerships & Enterprise Marketing, Hilton
- Jillian Jackson, Senior Manager, Loyalty, Partnerships, & Enterprise Marketing, Hilton
- Stijn Bastiaens, Vice President Global Strategic Partnerships, Hilton
- Chris Bovey, Head of Client Services, Right Formula
- Tim Silvey, Senior Account Director, Right Formula
- Katie Mallalieu, Senior Account Manager, Right Formula
- James Baker, Account Manager, Right Formula
- Saffron Armstrong, Senior Account Executive, Right Formula
- Oliver Wrigley, Senior Account Executive, Right Formula
- Matt Regale-Day, Creative Director, WeAre3Fold
- Melanie Qutteineh, Managing Director, WeAre3Fold
- Rhys Morgan, Commercial Director, WeAre3Fold
- Rhodri Morgan, Account Manager, WeAre3Fold
- Jeremy Hall, Senior Partnerships Manager, DP World Tour
- Claire Badger, Partnerships Manager, DP World Tour
- Miles Fletcher, Partnership Management Executive, DP World Tour
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Company/Agency
Executive summary
Socios.com and European giants Galatasaray S.K. teamed up to offer fans worldwide the opportunity to be part of a significant moment in the club's history: the signing of global superstar Dries Mertens. By utilizing the power of Fan Tokens, $GAL Fan Token holders were given the exclusive privilege to select the player's number and win unique rewards. This collaboration highlights the potential of Fan Tokens to connect fans with their favourite clubs and players, allowing them to engage and participate in decision-making processes.
The campaign was a resounding success, not just for Galatasaray S.K but also for Socios.com. It demonstrated our commitment to pushing the boundaries of fan engagement and enabled fans to have a real impact on their favourite sports teams. This fan engagement campaign is a powerful example of how technology can be used to bring fans closer to their teams and foster a stronger sense of connection to the club.
Entry image
Entry credits
- Gilbert Camilleri, Marketing Director, Socios.com
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Company/Agency
Storycatchers
Client
Network Rail
Executive summary
Trespass on the railway is a major issue. People mistakenly believe they understand all the risks – and are overly confident in their ability to avoid them. If I can safely cross a busy road, I can manage an empty train track, right?
Wrong.
An innovative partnership with Reach Media allowed us to break the rules of pre-rolls, to reduce trespass by 19% in priority locations compared to the previous year, in a campaign that outperformed all Network Rail trespass campaign predecessors, on all KPIs.
Our demographically broad audience – adults aged 18 to 50 – was only linked by their behaviour. We observed that the most frequently used excuse for trespass around the railway is taking a shortcut – which gave us our hook. Because we all love a shortcut. If we can skip it or fast forward it, we will. As advertisers we fight fingers poised to skip our ads to get to the good stuff – and it was this ‘skipping’ behaviour we sought to leverage. Reach allowed us to run interactive pre-rolls that presented a safety video with a fake ‘Skip ad’ prompt to shortcut it. If users chose to shortcut safety – at any point – a seamlessly served second video delivered the consequences: a graphic VFX wipe out. 55% of users stuck around for the full video – job done. And as for the 45% that tried to skip our ‘boring’ safety ad? Job DONE.
Entry image
Entry video
Entry credits
- Andy Hayward, Creative Director, Storycatchers
- Dee Atkin, Creative Director, Storycatchers
- Toby Wildgoose, Account Manager, Storycatchers
- Katy Baker, Account Director, Storycatchers
- Jack Salmons, Art Director, Storycatchers
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6
Disruption
Description
This category will recognise the best stunt or campaign that created change or brought attention to an issue.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Storycatchers
Client
Network Rail
Summary
Trespass on the railway is a major issue. People mistakenly believe they understand all the risks – and are overly confident in their ability to avoid them. If I can safely cross a busy road, I can manage an empty train track, right?
Wrong.
An innovative partnership with Reach Media allowed us to break the rules of pre-rolls, to reduce trespass by 19% in priority locations compared to the previous year, in a campaign that outperformed all Network Rail trespass campaign predecessors, on all KPIs.
Our demographically broad audience – adults aged 18 to 50 – was only linked by their behaviour. We observed that the most frequently used excuse for trespass around the railway is taking a shortcut – which gave us our hook. Because we all love a shortcut. If we can skip it or fast forward it, we will. As advertisers we fight fingers poised to skip our ads to get to the good stuff – and it was this ‘skipping’ behaviour we sought to leverage. Reach allowed us to run interactive pre-rolls that presented a safety video with a fake ‘Skip ad’ prompt to shortcut it. If users chose to shortcut safety – at any point – a seamlessly served second video delivered the consequences: a graphic VFX wipe out. 55% of users stuck around for the full video – job done. And as for the 45% that tried to skip our ‘boring’ safety ad? Job DONE.
Entry image
Entry video
Entry credits
- Dee Atkin, Creative Director, Storycatchers
- Andy Hayward, Creative Director, Storycatchers
- Toby Wildgoose, Account Manager, Storycatchers
- Katy Baker, Account Director, Storycatchers
- Jack Salmons, Art Director, Storycatchers
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Company
Forever Beta
Client
Hospitality Rising
Summary
There are nearly 200,000 vacancies in the UK hospitality industry, and it’s crippling. Restaurants are forced to reduce serving hours, hotels are turning guests away, pubs are struggling to survive. All off the back of tremendous difficulties posed by Brexit, Covid and the cost of living crisis. We needed more than a campaign to change that. We needed a movement. A movement to galvanise the entire sector into action. A call of arms to address the negative perception of the hospitality sector.
So, we built a new kind of recruitment campaign for those ready to Rise Fast, Work Young.
Our primary audience are those young at body and young at heart, who are bored of being bored. We needed to excite and inspire in a totally original way for the sector. The art direction had to shine where so many recruitment campaigns have struggled to cut through.
We represented the sector through relatable, current and aspirational characters. We showed them bossing their jobs. Hero-ing them with dynamic camera angles and poses inspired by contemporary fashion shoots.
We worked with an award-winning music production company to develop a bespoke soundtrack for the video assets, featuring Miss Kay, an up-and-coming UK female rap artist.
The results? The campaign is outperforming targets: reaching 42m across trade and national media, 13m across nationwide advertising; causing an explosion of visits to the website, generating over 20,000 applications.
In addition it has raised £850k of support and is backed by 300+ UK hospitality businesses.
Entry image
Entry video
Entry credits
- Robin Gadsby, Chief Executive Officer, Forever Beta
- Paulo Areas, Chief Creative Officer, Forever Beta
- Nick Radley, Chief Strategy Officer, Forever Beta
- Darren Cox, Head of Design, Forever Beta
- Alexander Harazim, Designer, Forever Beta
- Miles Bingham, Creative, Forever Beta
- Mark Campion, Creative, Forever Beta
- Jack Cresswell, Creative, Forever Beta
- Ben Farrow, Creative , Forever Beta
- May Reinholdsson , Account Manager, Forever Beta
- Patrick Flynn, Head of Client Services, Forever Beta
- Sarah Jacobs, Production Lead, Forever Beta
- Bianca Green, Creative Producer, Forever Beta
- Philip Hardy, Video Editor, Animator & Director, Forever Beta
- Uzoma Patrick-Ogbu, Research Assistant , Forever Beta
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Company
Storycatchers
Client
Network Rail
Summary
Trespassing on the railway leads to an average of 20 entirely avoidable deaths each year – including, tragically, the death of funny, football-mad, 11-year old Harrison Ballantyne.
In 2017 Harrison was out playing with his friends when he was killed by 25,000 volts of electricity at a privately owned rail freight depot. We worked with Network Rail, the British Transport Police, industry partners and Harrison’s parents to tell his story in a powerful, moving film that reduced child trespass incidents by 62%, and reduced overall trespass by 24%.
Every hour of every day, someone puts their life on the line around the railway, either because they're unaware of the risks that the network presents, or because they’re over-confident in their abilities to avoid them. Our creative strategy was to reinforce the unpredictable nature of the railway using unexpected storytelling techniques, in a film carefully constructed to be memorable using a number of behavioural biases and heuristics.
It’s extraordinarily difficult not to listen to a sunny, lively 11-year-old boy speaking directly to us about how he didn’t expect to die today. We used the warmth and charm of Harrison himself to draw people into our film, and kept them there - the paid YouTube VTR was 44% (against 20% benchmark), with 20% watching the full 2-minute film.
We’re extremely proud of this work, proud that we did Harrison justice, and proud of the impact it’s had.
This one’s for you, Harrison…
Entry image
Entry video
Entry credits
- Dee Atkin, Creative Director, Storycatchers
- Andy Hayward, Creative Director, Storycatchers
- Katy Baker, Account Director, Storycatchers
- Toby Wildgoose, Account Manager, Storycatchers
- Jack Salmons, Senior Art Director, Storycatchers
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Company
Global / PHD
Client
British Heart Foundation
Summary
Every week in the UK, 12 people under the age of 35 die of a sudden cardiac arrest, often caused by inherited heart muscle diseases (genetic cardiomyopathies).
Few people are aware of the issue and even fewer people are aware of British Heart Foundation’s role in funding lifesaving research in this area.
As part of the announcement of the BHF’s largest ever research grant - £30m to CureHeart, a global collective of scientists pioneering revolutionary gene therapy technologies that could silence or edit the faulty genes that cause inherited heart muscle diseases - we wanted to address this low awareness.
Our strategy was grounded in the disruptive, unexpected nature of heart disease - sudden death due to cardiac arrest can happen to anyone at any time – which meant our media idea needed to do what heart disease, unfortunately, does every day.
Stop people in their tracks.
In radio, silence is a rarity. The flow of the output is always constant. Our media idea focussed on pulling listeners out of the expected by disrupting their listening experience whilst playing on a contextually relevant connection with the UK biggest radio network – Heart.
Our idea? Stop the UK’s biggest Heart.
How? By convincing well-known brands to allow their radio ads to suffer sudden ‘cardiac arrest’ live on-air across the Heart radio network to provide powerful moments that would grab their attention for the announcement of British Heart Foundation’s research funding into inherited heart muscle diseases.
Entry image
Entry credits
- Nick Russell, Creative Strategy Director , Global
- Justin Sanders, Senior Producer, Global
- Becca Godfrey , Partnership Manager, Global
- Adam Belchack , Partnerships Manager, Global
- Richard Spalding, Creative Copywriter , Global
- Louise Martin, Brand Partnerships Manager, Global
- Scott Webb, Partnerships Business Director, PHD
- Emma Flaxman, Marketing Partner , PHD
- Laura Farmer, Media Director , PHD
- Claire Bullock , Business Director, PHD
- Euan Hudghton, Chief Brand and Experience Officer, PHD
- Jamie Cahill-Kearns, Marketing Executive, British Heart Foundation
- Monica Cadrecha, Marketing Manager, British Heart Foundation
- Damion Mower, Head of Brand and Health Engagement, British Heart Foundation
- Andrew Webster, Director of Corporate Affairs and Communications, British Heart Foundation
- Sam Austin, Head of Audio, Goodstuff
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Company
Frank PR
Client
innocent
Summary
In February 2022, innocent’s green credentials were questioned. The brand needed to reclaim their standing as a trusted company that cares about their impact on the environment.
Enter The Big Rewild – an initiative to raise awareness of the importance of rewilding. Kicked off with a once-in-a-lifetime event which changed history, as Trafalgar Square was transformed into a lush, green garden space plants, trees and flowers alongside 3 million wild-flower seeds distributed to the tens of thousands of people who travelled to visit.
Exploding overnight, blanket coverage of the spectacular filled the news in the first 24 hours whilst social influencers and members of public sharing content across their own channels drove a wealth of online conversation. All whilst underpinning the brand’s rewilding mission alongside the news that innocent’s own orange juice was going carbon neutral.
Entry image
Entry credits
- Jess Archard, Senior Account Director, Frank PR
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Company
Sky
Client
Sky Entertainment
Summary
The streaming revolution of the last decade means there’s more TV content, at a cheaper cost, than ever before. Having a major hit show is critical in the battle to gain and retain subscribers.
Sky had a specific business challenge: to recruit an 18-34 audience who favour cheaper, more flexible streaming services.
We had a show to launch which could be a gift. ‘The Last of Us’ was an adaptation of a videogame with an audience that was 62% under 35.
However, looking at the history of failed videogame adaptations, we knew our greatest opportunity to win over the 18-34 fans could end in disaster. We needed to convert fans of the game into advocates, in turn helping spread the show to a wider audience. To do this, we worked closely with them to co-create the campaign.
The campaign re-defined the ‘watercooler moment’ driving an unprecedented volume of talk: 4.14m conversations against a benchmark of 987K for a new Sky drama. The show was a hit, beating the launch of Games of Thrones and saw Sky’s biggest finale audience ever for a debut series.
This case study shows how we won over fans authentically and built their passion to infect mainstream audiences, making The Last of Us one of Sky Atlantic’s most successful launches ever, garnering its highest audience for 18-34s.
Entry image
Entry video
Entry credits
- Olivia Browne, Marketing Director, Sky
- Rachael Fielding, Head of Marketing, Sky
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5
Social Purpose
Description
At The Drum, we believe that marketing can change the world. We want to give recognition to modern-day marketing that drives forward socially responsible marketing and brand purpose. Judges will be looking for campaigns that demonstrated real impact and creativity.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Mindshare UK x Dove
Client
Unilever, Dove
Summary
Impressionable teenage girls – to the growing despair of their helpless mothers – are bombarded daily with new versions of unachievable beauty on social – via new filters, lenses and influencers. The harmful culture of selfies – promoting girls’ futile pursuit of the perfect look - persists. Combatting the negative effects of this ugly onslaught is a never-ending and full-time job. Dove have been campaigning for real beauty since 2004, bringing attention to the issues that young girls face which is as important today as ever before. Reverse Selfie – in which a young girl transforms in reverse from impossibly made-up to her true beautiful self – brought hope, inspiration and education to millions of young women caught in this vortex. And it helped re-establish Dove as an ally for all women, with its unflinching focus on real beauty. In doing so, Dove enlisted an army of women as part of its #NoDigitalDistortion campaign. But how did we recruit that army and arm them with the tools they need to build their self-esteem.
Entry image
Entry video
Entry credits
- Sasha Arnott, Account Director, Mindshare UK
- Lucy Mulchinock, Client Director, Mindshare UK
- Colin Prankard, Head of Audio Visual, Mindshare UK
- Victoria Smith, Account Director, Mindshare UK
- Nikki Gunning, Client Partner, Director Mindshare UK
- Poppy Richards, Influence Director, Ogilvy
- Zoe Thompson, Brand Manager, Unilever
- Anna Mason, Account Manager, Mindshare UK
- Emily Galazka, Marketing Manager, Unilever
- Alix Colin, Gloabl Marketing Manager, Unilever
- Hannah Kehoe, Marketing Manager, Unilever
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Company
Pink Squid
Client
Capgemini
Summary
With a challenge to support Capgemini’s Diversity, Equity and Inclusion goals through highlighting Capgemini’s internal employee networks, we needed to be courageous, shifting engrained mindsets and challenging subconscious biases while being sensitive towards our colleague’s deeply personal experiences.
Through our research process, speaking to colleagues from seven different employee networks, we gathered stories that were begging to be told and crafted a social experiment that allowed people with different backgrounds to empathise with their colleagues' experiences.
What happened next was completely unscripted.
The outcome was a series of videos that were launched internally, achieving uplifts in network membership, increased allyship and senior leadership buy-in.
Entry image
Entry video
Entry credits
- Manj Azizul, Cofounder and Creative Director, Pink Squid
- Norbert Garab, Art Director, Pink Squid
- Megan Hoyes, Copywriter, Pink Squid
- Laura Roberts, Strategist, Pink Squid
- Daniel Osborne, Videographer, Pink Squid
- Pavels Orlovs, Videographer, Pink Squid
- Zkhin Li, Head of Motion, Pink Squid
- Bal Gil, Talent Director, Capgemini
- Laura Parkes, Internal Communications Manager, Capgemini
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Company
Tin Man
Client
Virgin Atlantic
Summary
When the biggest non-binary star, Sam Smith, shares and duets with your content THREE TIMES organically, when you land 550+ pieces of global coverage in three days and when you trend across all social media platforms…. you know you’ve made an impact.
But when you genuinely make a difference to both the people who work for the business and its customers… that’s what makes a campaign truly special.
To cement Virgin Atlantic’s position as the most inclusive airline, we listened to our people, ripped up the (Vivienne Westwood designed) uniform rule book and re-wrote its gender identity policy offering its people the option to choose the uniform they identified most with and introduced pronoun badges, gender neutral ticketing systems and inclusivity training for its people.
We announced it to the world with an inclusive, stylised fashion forward ‘runway on a runway’ content campaign, fronted by LGBTQ+ ally Michelle Visage, influencers, trans and non-binary pilots and crew, punchy media relations and a sprinkling of Virgin flair. The results speak for themselves.
Entry image
Entry video
Entry credits
- NA NA, NA, NA
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Company
Lime Pictures
Client
Channel 4
Summary
The shocking murder of Sarah Everard in 2021 prompted a national outpouring of anger and revulsion, thrusting the issue of women’s safety into the nation’s consciousness. Countless stories emerged of women whose experiences of male harassment had left them fearful of walking alone after dark.
Channel 4’s single-minded purpose is to create change through entertainment, perfectly evidenced by Hollyoaks – Channel 4’s flagship soap that has sensitively tackled hard-hitting societal issues ranging from anorexia to self-harm. Continuing in that tradition, a storyline was planned to feature character Maxine Minniver being attacked whilst walking home alone after a night out.
By giving young men the opportunity to literally walk in women’s shoes through our ground-breaking immersive video experience, we thrust the topic of women’s safety to the top of their agenda; and cemented Hollyoaks’ reputation as the home of topical contemporary programming that changes lives.
Entry image
Entry video
Entry credits
- Lime Digital, n/a, Lime Pictures
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Company
BBD Perfect Storm
Client
Unseen UK
Summary
Due to the invasion of Ukraine, it is estimated that 14 million people have been forced to flee their home - the majority of whom are women and children. The lack of infrastructure for safe relocation has meant that human traffickers have seen this an opportunity to exploit vulnerable Ukrainians into slavery, waiting to pounce as soon as they arrive. While working with anti-slavery charity, Unseen UK, we realised that getting vital information directly to Ukrainians refugees was crucial. But most importantly, we needed to reach them the very moment they arrived in the UK.
Our solution was a welcome text - just like the one we get from our Telco when we turn our phone on in a foreign country. Only this time, our welcome text explained, in English, Ukrainian and Russian, the dangers posed by human traffickers, as well as instructions on how to avoid falling prey. It then directed newcomers to an online hub with more information about how to stay safe in the UK.
Entry image
Entry video
Entry credits
- Seb Hill, Executive Creative Director, BBD Perfect Storm
- Nick Dutnall, Managing Director, BBD Perfect Storm
- Jacob Hill-Gowing, Senior Art Director, BBD Perfect Storm
- Robyn Bowman, Senior Copywriter, BBD Perfect Storm
- Louise Ormerod, Head of Design, BBD Perfect Storm
- Minh Ngan, Video Editor, BBD Perfect Storm
- Robbie Palmer, Designer, BBD Perfect Storm
- Andrew Wallis OBE, CEO, UnSeen UK
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4
Rebrand or Relaunch
Description
This category will award the entrant who can demonstrate an effective customer-focused re-brand or re-launch of the year. You could touch on things such as challenges you overcame and the positive results derived from your launch, the impact your launch had on customer perception, the increase in loyalty, sales, etc.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
The Croc
Client
Morae
Summary
As a legal technology and consulting provider, Morae is a prime mover in this changing world.
Acquiring six companies in as many years, rapid expansion had made the company a complicated beast, with many disparate technological solutions and disciplines housed under one brand.
With enhancements to its service came challenges around perception. How could we unify the distinct elements of the Morae brand under one umbrella? Make all parts of the organisation feel a sense of belonging, understanding, and shared purpose? And how could we communicate this vision of change in a compelling way to new and existing clients?
Pulling apart every fibre of what Morae means to its employees and customers, The Croc applied their trademark ‘Fierce Thinking’ to deliver a bold rebrand that positioned Morae as a catalyst of transformational change within the legal industry.
Delivered through an entirely reimagined brand line, design system and digital footprint, Morae can now show up to clients with a single-minded sense of purpose. The appropriately innovative new brand underlines the strength of its collaboration and solutions.
Since the rebrand launched, Morae has seen a 14% increase in global brand coverage, while the average session duration on the website is up by 123%, with a 121% boost in the number of pages viewed per session.
Entry image
Drum23 TheCroc Morae Rebrand.pdf
Entry video
Entry credits
- Nick Watmough, Creative Director, The Croc
- Christine Connor, Head of Strategy, The Croc
- Andy Cooke, Design Director, The Croc
- Suzanna Hudson, Senior Designer, The Croc
- Sarah Townsend, Head of Digital , The Croc
- Youcef Laraba, Senior UX Designer, The Croc
- Marc Baker, Senior Digital Designer, The Croc
- Gareth Hogan, Senior Digital Developer, The Croc
- Shara Jamani, Account Director, The Croc
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Company
VMLY&R / The Pharm
Client
Boots Opticians
Summary
28 million Brits live with eye health needs, but 1-in-6 don’t bother to attend eye tests to have vision corrected(7). Avoidance is dangerous because it leads to late detection of underlying issues, which could cost 10 million Brits their sight(3). COVID made it more dangerous when people couldn’t attend appointments, causing steep market decline.
We faced the impossible task of reframing how Brits saw the category to puncture their avoidance to it – so they prioritised their eye health and chose us to get their eyes tested. In doing so, challenging our world famous, market leader who outspent us 5:1.
We discovered avoidance was because confronting eye health issues meant confronting the fact ‘they’re at a ‘deficit’, causing a raft of emotions but one that stood out; grief. Feeling loss. Loss of possibilities in life and loss of their identity, causing a Hopeless-Virtuous-Cycle.
And the category was void of empathy. This had always been our superpower. So we harnessed it, breaking the cycle by turning fear of loss into fear of missing out on the abundant possibilities you can experience with sharper vision. We would do everything possible to help you SEE WHAT’S POSSIBLE.
After just 6 months, we’ve achieved overall reach of 143.9 million and an uplift in eye test bookings by +8% compared to pre-campaign results. We’re well on our way to empowering as many of those 28 million to prioritise eye health, reducing risk of sight loss for as many of those 10 million as possible.
Entry image
Entry video
Entry credits
- Bilel Labjaoui , Art Director , (VMLY&R/The Pharm)
- Charlie Hallam , Copywriter, (VMLY&R/The Pharm)
- Daryl Corps, Creative Director , (VMLY&R/The Pharm)
- Sara Rose, Executive Creative Director , (VMLY&R/The Pharm)
- Adam McGlashan , Associate Strategy Director , (VMLY&R/The Pharm)
- Zoë Venning , Senior Account Director , (VMLY&R/The Pharm)
- Alex Honnor , Producer, (VMLY&R/The Pharm)
- Andrew Palmer , Director, Customer & Commercial , (Boots Opticians)
- Gail Borley, Head of Brand & Digital Marketing , (Boots Opticians)
- Layla Pearson, Advertising & Planning Manager , (Boots Opticians)
- Nick Jack Davies , Director , The Sweetshop
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Company
MadeBrave
Client
Tomatin
Summary
Taking Tomatin back to what matters
Tomatin was once the largest distillery in Scotland. Although still selling well to this day and beloved by whisky drinkers worldwide, Tomatin knew they still had greater untapped potential.
They challenged us to revitalise the brand and cement its place as one of the world’s leading malts.
So, we did.
By rejecting the fashionable, flashy visuals that had created a sea of sameness in the whisky world, we reenergised a sleeping giant with a renewed sense of purpose and meaning.
A call to arms for those who share in what Tomatin holds true; a more human view on what’s really important in life. Making genuine connections with good people. Having a community where you always belong. And sharing the moments that matter.
Encapsulating a premium, distinctive sense of authenticity and warmth resonated powerfully with an audience still feeling the effects of a global pandemic.
More connection. More meaning.
More growth. More sales.
More of what matters.
Tomatin - To What Matters.
Entry image
Entry video
Entry credits
- Robert Scobie, Group Account Director, MadeBrave
- Josh Jones, Director, MadeBrave
- Linsey Romano, Producer, MadeBrave
- Emma Houston, Head of Comms Planning, MadeBrave
- Nathan White, Comms Planner, MadeBrave
- Heather Robertson, Comms Planner, MadeBrave
- Paloma Pini-Reed, Creative Director, MadeBrave
- Jamie Venters, Copywriter, MadeBrave
- Lars Myrvang, Editor, MadeBrave
- Claire Scullion, Head of PR, MadeBrave
- Sophie McIntyre , Creative PR Lead, MadeBrave
- Kenneth Johnstone-Cowley, Head of Design , MadeBrave
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Company
April Six Mobility
Client
Scania GB
Summary
An influx of used Scania stock highlighted the need for a complete review of their used vehicle business. The market was running on the old model of selling from the forecourt, through listings and classified ads. There was little to convince the customer on what was a product-led buying journey. Consumer insight revealed time-pressed customers were showing less loyalty when it came to used. With homogeneity and price sensitivity an issue, customers were inclined to switch to competitors offering similar product that was more affordable. Research told us customers were looking for flexibility, choice and reassurance, but the market wasn’t delivering.
A complete re-evaluation of Scania’s commercial used proposition resulted in the creation of Scania Go. A brand-new used programme that passed control to the customer (“Used vehicles, your way”), letting them choose service, assurance and finance packages for their business. Clearly laid out, unique to the market benefits, no quibble guarantees and crystal-clear grading steered customers towards choosing their vehicle.
Fundamental repositioning to a customer-driven service, assured customers that buying used direct from Scania with its unmatchable guarantees justified a premium price tag on the promise of a premium service from a premium brand. It was used without compromise – an industry first.
Scania Go was, and still is, pioneering in this sector. Go placed used firmly in the digital world. It was the first brand to present to its customers a truly customer-first experience, empowering the used buyer with a programme that offered both flexibility and choice.
Entry image
Entry credits
- Marina Guirey, Senior Planner, April Six Mobility
- David Dent, Planning Director, April Six Mobility
- Henry Debenham, Client Services Director, April Six Mobility
- Damian Scott, Creative Director, April Six Mobility
- James Coogan, Senior Designer, April Six Mobility
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5
Partnership or Collaboration
Description
This category celebrates a successful partnership or collaboration. You will need to clearly demonstrate how the strategy was designed to be mutually beneficial to both parties and the positive outcomes the partnership achieved. Whether that is increased reach, an increase in sales, or a change in perception.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Lime Pictures Limited
Client
UK Home Office & OMD Agency
Summary
Many types of violence against women and girls (VAWG) are so normalised that they go unchallenged. Channel 4’s Hollyoaks partnered with the Home Office’s ‘ENOUGH’ campaign in a stand-alone episode titled ‘The Long Walk Home’. The episode brought to life the severity of the issue, the role bystanders can play, and the fact that it is NEVER the woman’s fault. This messaging was amplified across socials with an accompanying digital series and hard-hitting interviews. With 1 million viewers, the campaign struck a chord, driving people to find out more. Most importantly, we captured the nation’s attention, catapulting this serious issue into the spotlight.
Entry image
Entry video
Entry credits
- Rebecca Woodward, Brand Partnerships Manager, Lime Pictures Limited
- Chanelle Stacey, Commercial Partnerships Senior Lead, Channel Four Television Corporation
- Serena Murphy, Commercial Partnerships Manager, Channel Four Television Corporation
- Demi Mantell, Commercial Partnerships Lead, Channel Four Television Corporation
- Charlotte Dicksen, Partnerships Account Director, Manning Gottlieb OMD
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Company
VMLY&R / The Pharm
Client
Boots
Summary
Never have two brands come together and created much more than the sum of their partnership. Take one iconic TV show, with a settled young audience, and couple it up with a retailer with a devoted older shopper, and the best beauty range on the market. Add in some hard grafting and the results were more than anyone could have expected.
Beauty is the growth engine for Boots. For many young beauty lovers, after years of it being ‘where my mum shops’, Boots has developed into a go-to destination. We wanted to cement this reputation and needed a dedicated partner to work with. One with massive beauty kudos. ITV’s Love Island was 100% our type on paper.
ITV were looking for a Beauty partner that would live and breathe Love Island, exploding the franchise beyond TV and speaking to fans in new ways.
The match was perfect:
We connected with our audience, with 2/3 taking action as a result of experiencing our campaign.
Boots Beauty YoY increased.
Identified Boots’ first Beauty Ambassador – Indiyah Polack
Biggest show launch since 2019 with 5m views
Biggest audiences on record with an average of 4.5m viewers per episode
Best performing show for 16-34 year olds
This is the story of how finding the perfect partner with cultural cache can cement a brand’s new youthful positioning. And how a much-loved TV franchise can reach audiences in new ways, with a partner who’s willing to go the whole way.
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Supporting imagery for Partnership.pdf
Entry credits
- Helen Jeremiah, VP Marketing Director, Boots
- Ollie Shayer , Omni-Media Director, Boots
- Clair Geekie, Head of External Communications, Boots
- Chloe Watkins, Marketing Manager, Boots
- Chelcie Martin, Media Manager, Boots
- Sophie Perrin, Social Media Manager, Boots
- Alice Cox, Instore Marketing Manager, Boots
- Vickie Tebbutt, Vickie Tebbutt, Consumer PR Manager, Boots
- Ali Chaplin, Assistant PR Manager, Boots
- Sophie Sanderson, Global Creative Project & Production Manager, Boots
- Georgia Martin, Client Director, Boots Media Group
- Katie Addison, Client Manager, Boots Media Group
- Lara Worthington , Head of Creative Partnerships, ITV
- Lucy Turner, Creative Partnerships Manager, Love Island
- Lydia Carton, Creative Partnerships Executive, Love Island
- Lucy Burnham, Deputy Sales and Partnerships Controller, ITV
- Sarah McBeath, Group partnership sales controlleR, ITV
- Emma Daly, Publicity Manager, ITV
- Arabella Blaikie, Business Director, (EssenceMediacom) The Pharm
- Rachael Alston, Senior Associate Director, (EssenceMediacom) The Pharm
- Oliver Clarke, Senior Associate Director, (EssenceMediacom) The Pharm
- Rachel Morris, Creative Director, (VMLY&R) The Pharm
- Ed Boost, Content Engine Lead, (VMLY&R) The Pharm
- Brooke Bailey, Social Content Manager, (VMLY&R) The Pharm
- Annie Whitfield , Social Content Manager, (VMLY&R) The Pharm
- Lucy Mosley, Community Manager, (VMLY&R) The Pharm
- Maud Watters, Producer , (VMLY&R) The Pharm
- Martha Taylor, Account Director, (Ogilvy PR) The Pharm
- Molly Coaker, Account Manager, (Ogilvy PR) The Pharm
- Amarachi Chinnah, Account Executive, (Ogilvy PR) The Pharm
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Company
No Problem
Client
Ballantine's
Summary
Ballantine’s wanted to grow advocacy in a new community, a community that is notoriously hard to engage, with finely-tuned BS detectors: gamers.
Instead of throwing money at the problem by sponsoring e-sports or buying ads on niche sub-Reddits, we partnered with Gearbox - the developers of the Borderlands franchise - to give fans more of what they love: we brought the game’s beloved non-playable-character Mad Moxxi out of the game and into the real world, as an employee of Pernod-Ricard. Moxxi’s a known entrepreneur and, most notably for a whisky brand, a bartender herself. Through her Twitter handle, LinkedIn profile and various streaming events fans were able to interact with her like never before, courtesy of Ballantine’s.
She launched the partnership with a drink responsibly video, developed her own limited-edition whisky (100,000 bottles rapidly sold out), and assembled a global squad of streamers to join her new endeavor.
Most importantly, we connected with gamers on their level: staying true to Moxxi’s character, adding new layers to a world they love and, in doing so, driving positive perceptions of Ballantine’s among this important new audience.
Moxxi’s Mission complete: Progress to Next Level
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Entry credits
- Tom Murphy, Partner, No Problem
- Adam Gong, Partner, No Problem
- Nils-Petter Loevgren, Creative Lead, No Problem
- Jim Goodrich, Copywriter, No Problem
- Helena Schlesinger, Art Director, No Problem
- Andrew Jasperson, Copywriter, No Problem
- Ben Shaw, Strategy Lead, No Problem
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Company
160over90
Client
EA SPORTS & PUMA
Summary
125 lives are lost each week to suicide, 75% of those are male - a statistic that needs changing and talking about. Teaming up with the Campaign Against Living Miserably, PUMA UK athlete Kyle Walker designed a physical and virtual kit inspired by his own mental health journey to help make suicide and mental health an inescapable conversation. Partnering with PUMA UK and EA SPORTS FIFA, the kits sold out within a week and appeared in over 25 million games on FIFA 22. Hero content featuring Kyle was viewed by 6.7 million people, sharing the message that life is always worth living.
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Entry credits
- James Clifford, Senior Vice President, PR and Comms, 160over90
- Alex Mackenzie-Grieve, Senior Account Director, 160over90
- Fiona Stones, Vice President, Brand and Influence, 160over90
- Charlie Richards, Associate Director, 160over90
- Shakira Day, Senior Account Executive, 160over90
- Louis Walters , Account Manager, 160over90
- Stephen Richardson , Senior Account Executive, 160over90
- Billy Gentry , Communications Manager, PUMA
- Ed Price , Performance Marketing Executive, PUMA
- Joe Fuller, Campaign Lead, UKI, FIFA Brand, EA SPORTS
- James Taylor, Senior Manager, FIFA Brand, EA SPORTS
- Sehrish Mumtaz, Campaign Lead, UKI, FIFA Brand, EA SPORTS
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Company
Cow
Client
Heineken UK
Summary
In 2022, after huge R&D investment, Heineken 0.0 became the first major alcohol-free beer brand to be rolled out on draught at mass scale. While the market is growing and the subject of increasing curiosity, it’s still on the fringes of what is ‘normal’ amongst traditional social groups in pubs and bars.
So, we wanted to normalise the choice of a No and Low option in a social setting for the sober curious and make ordering a Heineken 0.0 Draught not only permissible, but a positive choice.
We wanted to create an epic first that would insert the arrival Heineken 0.0 draught into the culture our target audience consumes AND make national news headlines.
In order to normalise alcohol free beer in a social setting and everyday lives, what better place than two iconic pubs that 13 million Brits visit several times a week, every week: The Rovers Return (Coronation St) and The Woolpack (Emmerdale Farm) from the nation’s favourite soaps.
The statement was clear. If the characters in Weatherfield and Emmerdale are embracing AF Heineken 0.0 then you can too at your local.
The pervasiveness of the idea meant that the partnership made it almost impossible to miss and British media lapped up the story with over 100 pieces of coverage, helping to drive record sales in on-trade sales in the six months that followed.
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Entry credits
- Joey Brophy, Senior Brand Manger, Heinken UK
- Joanna Dring, Head of Media, Heineken UK
- Dan Turner, Director, Cow
- Mark Perkins, Creative Director, Cow
- James Richards, Account Director, Cow
- Nicola Gilham, Head of Creative Partnerships - Continuing Drama, ITV
- Matthew Leggett, Managing Partner, Scenario UK
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5
Technology-led Innovation
Description
Best Technology-led Innovation will showcase how the technology strategy fits with the core brand values and how the technology returned impressive results, tying into the key business objectives.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Duel
Client
Monica Vinader
Summary
British luxury jewellery brand, Monica Vinader, operates in a hugely competitive D2C eCommerce market. While it has a loyal fanbase, it needed help empowering its existing (and passionate) customer base to fuel organic growth, instead of relying on expensive advertising strategies and the ‘traditional’ (but inauthentic) influencer campaigns that brands typically use to drive sales.
Monica Vinader enlisted the help of Brand Advocacy Platform, Duel, to power this growth and turn its own customer base into an acquisition channel in and of themselves.
Duel’s technology helps brands scale reach and revenue through brand advocacy (the act of supporting and recommending a brand). It is the infrastructure behind advocacy programs that deliver sustainable and long-term growth for brands by increasing brand awareness, acquisition and loyalty.
Duel devised, built and implemented an advocacy program, MV Insiders, to identify, engage and reward Monica Vinader’s most socially active customers as a channel for growth.
The results speak for themselves….
Over 14,700 members in the program
Over 93.8 million reached via social media
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Entry credits
- Paul Archer, CEO, Duel
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Company
Sky and EssenceMediacom
Client
Sky and EssenceMediacom
Summary
With the transition to a cookieless future on the horizon, it's imperative for digital marketers to adapt quickly and continue to innovate. Google currently has the cookieless change in Chrome scheduled to take effect in 2024; however, a significant portion of internet activity is already occurring in environments without cookies. Consequently, those who fail to advertise on cookieless inventory risk losing out on valuable opportunities.
Fortunately, the Quantcast Platform offers a robust technological solution that enables marketers to understand their audience and take advantage of cookieless inventory early. This technology provides brands and agencies with lower costs and enhanced performance due to limited competition for cookieless inventory. With the Quantcast Platform, marketers can future-proof their operations and experiment with ease.
Sky Mobile sought to increase sales by leveraging messaging highlighting the latest phone models, new feature set, and value. Building on a successful prospecting campaign with Quantcast, their agency, MediaCom, knew they could deliver even more impact with a new strategy. Understanding that over 50% of internet audiences are not addressable with third-party cookies, they wanted to find these missing audiences, driving incremental conversions with cookieless advertising.
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Entry credits
- David Sirtori, Head of Digital, Sky
- Peter Honey, Digital Senior Associate Director, Mediacom
- Lindsay Russell, Digital Marketing Lead, Sky
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Company
Tin Man
Client
Vodafone
Summary
5G technology, reliability, speed… we’ve heard it all before from telecoms giants. Unfortunately, these features aren’t new or fresh and it’s hard to excite audiences with such functional messaging.
We wanted to show the emotional power of technology delivering joy in a way that hasn’t been seen before.
Tin Man’s campaign for Vodafone featured a heartwarming 5G rendition of Christmas carol, Silent Night, sung (as a surprise to her sister) by a former singer who lost her voice box to cancer. Using technology, we, quite literally, ‘gave voice’ to 5G.
It was made possible by the innovative use of clever tech, the speed and reliability of Vodafone’s 5G and the dulcet tones of Love Actually’s Martine McCutcheon to really dial up the festive feel good.
And we secured over 200 pieces of coverage and 6.1m social impressions.
The campaign significantly boosted Vodafone’s positive reputation, shone a light on the brand’s tech for good platform ‘Together We Can’ and brought a dose of festive warmth to an otherwise functional tech brief.
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Entry credits
- Jodie Woolfson, Founder , Oh My!
- Hannah Conway, Executive Director, Sound Voice
- Oliver Kibblewhite, Founder , The 5Gs
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Company
Twitch
Client
WhatsApp
Summary
WhatsApp wanted to build awareness of its multiple layers of protection that keep messages private. So, they turned to Twitch - the digital playground of choice for Gen Z and Millennials and home to a community that values authenticity, collaboration and inclusiveness. Together, they set out to immerse WhatsApp in the digital gaming environment through a fun, entertaining, experience.
Twitch’s content is built by streamers, who engage with their communities for hours on end – but they of course need to take a break now and then. The challenge for streamers is that when they take a break, their audience drops off and their revenue shrinks.
WhatsApp and Twitch recognised the opportunity to help streamers by filling the breaks and keeping audiences engaged. And so Privacy Protectors was born - a first-of-its-kind mini-game where Twitch chat work together to protect their favourite streams from space invader-style threats, using projectiles representing WhatsApp privacy features. Success earned the community free WhatsApp subscriptions, and streamers took the opportunity to lead discussions of WhatsApp privacy.
This innovative gaming format transformed a moment when audience numbers and attention typically drop into a rewarding experience for viewers. In the process it engaged the Twitch community with the detail of WhatsApp privacy features, blasting awareness to new levels and powering up message association for WhatsApp as the platform that protects users’ privacy.
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Entry credits
- Ted Knight, Creative Strategist, Twitch
- Sam Grant, Creative Producer, Twitch
- Claudia Di Pierri Del Vecchio, Program Activation Manager, Twitch
- Daniel Lilley, Senior Creative Strategist, Twitch
- Sophie Siegel, Senior Client Success Manager, Twitch
- Kinhlang Pham, Influencer Relations Mgr, Twitch
- Joshua Prince, Account Director, Twitch
- Beth Wain, Marketing Manager (TEMP), Twitch
- Andre Lourenco , International Marketing, WhatsApp
- Jeffrey Fang , Strategic Media Planning, WhatsApp
- Tainah De Pauli , Strategic Media Planning, WhatsApp
- Olivia Makey , Planning Director, Spark Foundry
- Selin Pekin , Planning Manager, Spark Foundry
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Company
Yieldmo
Summary
Yieldmo is the only Smart Exchange, and designed to help advertisers purchase inventory effectively. We have specialized creative formats that are more engaging to consumers, which allow us to capture smart signals like attention signals. We’ve then combined that data into our smart curation engine which allows us to differentiate in real time.
At Yieldmo, we are innovating. We are taking our proprietary advertising units and our curation capability and are the first exchange to bring those together to maximize outcomes and unlock value better than anyone else. And we do this in a really easy way.
Yieldmo's newest offering, Dynamic Format Optimization (DFO), is poised to bring the last mile of performance gains, post-auction optimization, to the investment mix at scale. Dynamic Format Optimization works by transforming a brand’s existing creative assets into Yieldmo’s suite of programmatic-friendly creative formats called Frictionless Formats, and uses machine learning and AI to select the most performant creative format in real-time, with no additional lift from the advertiser. The assets remain DSP hosted and there is no additional build-step or custom workflow. Since the optimization happens post-auction, after the impression is won, DFO does not reduce scale or affect spend, it simply performs better.
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Entry credits
- Eric Shiffman, VP, Product Marketing , Yieldmo
- David Sebag, SVP, Product Management, Yieldmo
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4
Transformation
Description
This category will reward creative and innovative thinking/swift action, where a business can demonstrate a change in model/product to enhance experiences or in response to an external factor.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Coterie Marketing
Client
Experian
Summary
Experian’s number one aim is to be customer centric: to be known for the right things with the right people. Yet their marketing strategy didn’t align with this aim, with their 14 different business areas talking to similar audiences about hundreds of products – over exposing and confusing customers.
Experian approached Coterie Marketing to help them move to a streamlined, audience driven marketing approach with engagement at its heart. To do this, Coterie worked closely with Experian to create a ‘customer first’ framework, segmenting their target audiences, exploring the real pain points and priorities of their target audience, and linking these to the Experian products and services. This then guided marketers’ approach to each segment based on unique needs, with insight into how to communicate with the persona, what issues they face, what language they respond to and where and how they source information.
This ambitious project saw them pivot their entire marketing strategy to align to their customers based on this research, with fantastic results - not just in new business, but with engagement and retention. Results included substantial wins for Experian in 2022 and a significant increase in direct marketing pipeline and audience engagement.
Read on to find out more...
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Entry credits
- Jo Dunkley, CEO, Coterie Marketing
- Helen Curtis , Founder / Consultant , Coterie Marketing
- Rebecca Hennessy, Marketing Director UK&I B2B, Experian
- Helen Slack, Head of Brand & Planning, Experian
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Company
SoBold
Client
Rede Partners
Summary
Private equity (PE) fundraising advisory firm, Rede Partners, has a mission-critical process of keeping its network of limited partner investors (LPs) updated with relevant, timely information about opportunities to invest in client funds.
The primary method of communicating this information to LPs was previously a large static PDF document produced once per quarter and shared with LPs via email. While that approach is standard within the fundraising advisory industry, Rede recognised it as lacking in crucial areas such as engagement with end users.
SoBold worked closely with Rede to understand its challenges and define a clear set of strategic objectives. This allowed us to identify a way to transform this long-winded, one-way communication process with LPs into an innovative, interactive online portal.
This portal, known as RedeWire, is the first of its kind in the industry, providing each user with a personalised experience that includes tailored investment information and updates. RedeWire has been delivered successfully, meeting a complex set of requirements, and has already exceeded expectations for adoption.
The portal has since allowed Rede to make one of its critical points of communication with investors more efficient, effective, and engaging. This, in turn, is facilitating increased investment in client funds, enabling Rede to drive financial growth.
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Entry credits
- Sam Phillips, Technical Director, SoBold
- Leonardo Esposito, Senior Back End Developer, SoBold
- Laura Gray, Senior Designer, SoBold
- Will Newland, Managing Director, SoBold
- Gabrielle Joseph, Head of Due Diligence and Client Development, Rede Partners
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Company
TUI / Braze
Summary
Cost per acquisition for the app was lower than other channels so growing app engagement was a strategic imperative. We wanted to transform our mobile customer experience by creating cutting-edge app features, complemented by a suite of engaging, always-on messages to keep customers connected to TUI throughout their holiday journey.
By leveraging insights and responding to real-time behavioural events with hyper personalised content, geo-location-based tracking, and AI across multiple mobile channels, we ensured messages were relevant to each customers indicated or predicted needs at each phase for maximum impact.
Real-time mobile content and prompts were rolled out using a standardised approach across 8 markets, to create a connected mobile experience for all TUI customers globally.
Achieved 118% growth in customers using the app to book and whilst on holiday. The proportion of all TUI holiday sales generated by the app increased 78% and the sales of ancillary products grew 205%.
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Entry credits
- Michael Bowler, Global Head of CRM Marketing & CRM Capability, TUI
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Company
Yodel Mobile
Client
B&Q
Summary
The COVID-19 pandemic triggered a seismic shift in consumer behaviour and shopping patterns, with a surge in demand for e-commerce, growing by up to 54% YoY in 2020 in category downloads in the UK. Those businesses that were able to see this trend quickly, ahead of their competition, were the ones who were quicker to transform and capitalise on the 110 billion hours in shopping apps in 2022 (data.ai, 2023). B&Q, the UK's leading DIY and home improvement retailer, were reactive to the speed of the changes to shopping patterns and quickly recognised the power of mobile technologies to boost revenue for the business. However, B&Q faced immediate challenges that were hindering their transformation ambitions; including a lack of focus on mobile, limited development resources for the app, and low discovery of the app from digital-natives. This is where Yodel Mobile, an award-winning team of app growth experts with unrivalled experience in mobile transformation, stepped in. We were tasked with bypassing these challenges and unlocking the full potential of the B&Q app to capitalise and leverage the unrealised increased mobile revenue for the business. Despite data showing that 80% of B&Q's customers shopped on mobile devices, app adoption was still fairly low. B&Q’s research team predicted that increasing app adoption would increase higher frequency of purchase and Average Order Value (AOV) of B&Q customers. Whilst the business is digital-first in their ambition, we had a strategy to match their ambition to be mobile-first and leaders in their category.
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Entry credits
- Arazoo Kadir, Head of Growth, Yodel Mobile
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1
Consumer Packaged Goods (CPG)
Description
This category will reward campaigns and strategies created for any CPG business or organisation.
Criteria
Judges will review entries based on the following criteria: innovation/creativity, clear strategic thinking, effectiveness and tangible results. In your main entry report, you should use the following structure: objectives, strategy, and results and address any specific key points stated in the category description.
Entries must have been live to market at some point between April 2022 and April 2023. Entries do not have to be created within this timescale.
Company
Nano X mSix & Partners
Client
mSix & Partners & Ecover
Summary
Ecover, an environmental cleaning products company, wanted to build awareness, finding new customers online wanting to buy more eco-focused goods.
Cookie-driven, or people-based targeting didn’t necessarily serve Ecover’s purposes, since there was no specific demographic or product purchase intent to match. After all, does wanting to reduce your environmental impact interest more over 55s or under 30s? Urban families or rural empty nesters? It seems a classic example where any audience assumptions may not apply.
Alongside this, an approach which avoided the use of personal data, tracking and profiling users seemed more in line with the brand than surveilling and targeting specific individuals.
Alongside Nano, Ecover and its media agency mSix developed a campaign that would both dispense with all forms personal data and profiling – while at the same time reaching the people showing most intent to buy its products.
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Entry credits
- Vanessa oconnell, Head of Marketing, Nano Interactive
- Jordan Gillet, Sales Manager, Nano Interactive
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1
Agency leader of the year
This category will recognise an individual in your agency who has demonstrated brilliant thinking, innovation, and leadership to accelerate their business, building value for shareholders, clients, and employees.
Who has showcased a clear contribution to the industry insight and opinion, through fresh thinking, top-notch analysis, and creativity.
Company
Tag
Summary
Andria Vidler, EMEA CEO, joined Tag in January 2020 with a clear plan for how she was going to turn around the Tag super tanker. Together with her senior leadership team, she led Tag through a full brand repositioning and issued a cultural transformation across the EMEA business to facilitate a better working environment for all involved, the results of which have come to fruition over the last 3 years. Andria’s vision has led to commercial success and the dawning of a new era for Tag, its employees, clients and partners.
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Entry credits
- Laura Batt, Marketing and Growth Manager, Tag
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5
Agency team of the year
Does your team have what it takes to win Agency Team of the year? Judges will be looking at the structure of the team, the team’s marketing activities over the past year and the results produced by these activities showing how they impacted the overall company.
Company
Coolr
Client
n/a
Summary
For more than five years, Coolr has operated at the cutting edge of digital. Big on ideas and insights, the agency is totally wired into social culture - it’s the reason we regularly see our work trending and generating worldwide cut through, while connecting brands with audiences at scale.
Single-minded in our mission to help brands win on social, we continue to push creative boundaries as we reinvent water cooler moments for the digital age, and have become the go-to social partner for some of the biggest brands on the planet.
Our last 12 months have been the most ambitious to date, smashing every target, adding 20+ new clients to our portfolio, growing revenue, increasing profit margins and expanding Coolr into the US.
As the agency grew and continued to scale, we invested in operations, systems and processes, made critical new hires to deepen our digital expertise, and recently settled into a state-of-the-art new home, signalling the start of an exciting new era.
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Entry credits
- James Parker, Head of Editorial, COOLR
- Olivia Blairman, Director Of Client Services, COOLR
- Ben Jones, Head of Coolr Studios, COOLR
- Mark Shpungin, Social Strategist, COOLR
- Katie Parr-Burman, Senior Account Manager, COOLR
- Becky Calvert, Senior Influencer Manager, COOLR
- Lauren Hubbard, VP, Client Services, COOLR
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Company
Tug Agency
Summary
Tug is an independent-performance driven, global digital marketing agency, optimised to grow ambitious brands through the smart combination of data, media, content and technology. Founded by CEO Nick Beck in 2006, the business is guided by a C-Suite team of Peter Boulton CFO, Eoin O’Neill CTO, Ollie Vaughan COO - and regional Managing Directors Faye Daffarn in the UK, Darra Naiman CA, Charlie Bacon AU, Dave Porter DE and Karen Soo in SG.
We’ve grown a lot over the last few years. From two people running PPC from a basement to a global team of over 150 staff across three continents. With offices in New York, Toronto, Sydney, Germany and Singapore, and our HQ in London.
We follow a simple philosophy of Work Hard and Be Nice to People, and it’s at the heart of everything we do. We value our family, friends, colleagues and health. The things most important to Tug are what motivates us. This ideology is at the core of how we do business with our clients.
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Entry credits
- Faye Daffarn, Managing Director, Tug Agency
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Company
Conversion
Client
Conversion
Summary
In the world of Conversion Rate Optimisation (CRO), it's normal to see win rates between 10 and 30%. If an agency is achieving 35%, they're elite. If they're achieving 40%+, they're starting to seriously push the boundaries of what most people in the space consider possible.
With that in mind, what would you say if we told you that we'd devised a way to predict winning a/b tests with 69% (and growing) accuracy?
We're Conversion, the world's leading dedicated CRO agency. We work with brands like Meta, Dominos, and Canon, and we’ve generated literally billions of pounds worth of additional revenue for our clients – BUT this year, our application is only partially about bottom-line revenue uplifts.
In 2022/3, not only did we achieve big results for our clients – we started to redefine the entire meaning of Conversion Rate Optimisation. We,
- fine-tuned a new user research methodology that blends facial expression data, eye-tracking data, and limbic association analysis to understand the pre-conscious emotions of our clients' users.
- developed a watertight taxonomy for categorising and tagging every a/b test we've ever run.
- drawing on more than 25,000 data points from over 3,000 a/b tests, we've used machine learning to predict the result of a/b tests with 69% accuracy.
This may all sound good in theory, but here's the kicker: we're now starting to use these new innovations to achieve results that would previously have seemed impossible.
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Entry credits
- Frazer Mawson, Content Marketing Manager, Conversion
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Company
RocketMill
Summary
RocketMill is an employee-owned, independent, full service, performance marketing agency. Our team of 165 bring together expertise in data, technology, media, creative, content, SEO, UX, CRO and strategy to optimise all parts of the digital ecosystem to deliver Total Performance for our clients.
The result?
32% business growth, a 75% pitch-win rate, 80% client retention and +30 new business wins YTD (bringing our total client number to 67).
And what does this mean for our team?
As the UK’s largest employee-owned agency our team has a vested interest in driving success for our clients meaning that when the agency wins, everyone wins. But more than that, as business owners, we all have influence, make decisions and share accountability, creating full transparency, full connectivity and deep collaboration.
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Company
Tin Man
Summary
Vodafone. Virgin Atlantic. Amazon Alexa. Magnet Kitchens. Gumtree. Luton Airport. These are just some of the blue-chip brands that chose Tin Man in the last 12 months and just some of the brands who want our unique blend of purpose driven consumer comms.
2022 was our best year ever. We grew by 46%, doubled in size and still had 100% of staff feeling proud to work at Tin Man for the 3rd year running (staff survey 2023) and won 4 agency of the year awards.
Why? Because we’ve focused on the purpose driven work we excel at - from LGBTQ inclusivity to sustainability and from digital inclusion to the circular economy. We’ve also upskilled, innovated and celebrated the power of our predominantly female run agency.
The double X chromosome (and our industry leading work) has attracted top female clients at major brands and ambitious staff looking for inspiring female leadership. And it’s reinforced our belief, that building emotional connections is at the heart of any successful business.
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Entry credits
- NA NA, NA, NA
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9
Public sector/charity/not for profit
For a strategy/campaign produced for the public sector/charity or a not for profit organisation
Company
MBAstack
Client
Solace Womens Aid
Summary
There are many statistics about domestic abuse which make for harrowing reading, but one of the most shocking is the average length of time it takes women in the UK to leave an abusive relationship; seven years.
Solace Women’s Aid helps women to escape abusive relationships and their aim was simple; make people aware of the 7-year statistic and encourage donations towards their Christmas campaign, thereby allowing them to help more women leave sooner.
We conceived the idea of taking The 12 Days of Christmas and turning it into The 7 Years of Christmas, making a film which highlighted the long-term hell of living with an abuser.
We used animation to allow us to move seamlessly through time and create an atmosphere which started off festive and gradually became frightening.
Given this was a campaign built around a song we needed a singer who could resonate with women who had suffered at the hands of their partners. So, we collaborated with Self Esteem, a Brit nominated breakthrough artist, who is equally well known as a singer and a passionate advocate of women’s rights.
Our film grabbed people’s attention, created engagement on social media and crucially lead to donations, with Solace surpassing their fundraising target by almost 34% during the most economically challenging Christmas in living memory.
These funds will allow more women to be rehoused, some with families, in accommodation that provides a safe environment, and access to services, so they can rebuild their lives, free from domestic abuse.
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Entry credits
- Stefana Stoica , Senior Accounts Manager, MBAstack
- Jonathan Grant, Senior Cretative, MBAstack
- Georja Romano , Senior Creative, MBAstack
- Jon Leney, Executive Creative Director , MSQ sustain
- Kirsty Malcolm, Senior Producer, Roll Nine
- James Russell, Account Executive, MBAstack
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Company
Bridgend College
Summary
Bridgend College attended Skills Cymru Cardiff in October 2022, which is a skills, career and apprenticeship exhibition attended by Further Education and Higher Education institutions, employers, careers organisations and apprenticeship providers.
Bridgend College’s stand was based on a careers store, with the concept being developed by their small, in-house marketing team. The stand incorporated various features which emulated the experience in a supermarket, from a bespoke ‘self service’ checkout with touchscreens and personalised receipts, to token boxes for visitors to support local charities. While the stand had a clear store theme, careers advice was the basis of the stand, therefore staying true to their purpose as an educational institution and providing a broad and balanced careers insight to prospective students.
Using a digital-first approach reflected the expectations and preferences of the College’s core target market, and supported the College’s wider commitment to sustainability.
The team met all of the objectives set for the project, including the target number of visitors to the stand. Outcomes included excellent social media engagement, bookings to the College’s next Open Evening and applications to study a course at the College. The stand was also visited by the Welsh Government Minister for Economy who visited selected stands at the exhibition.
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