Creative 100

Lessons from the world’s best creative campaigns
Contents
Executive summary 3 Chapter three: Results and commentaries 34

Introduction to the rankings 5 Top campaigns 35
Customer experience? It's like getting married – David Lubars 6 Top agencies 36
Top agency networks and holding companies 38
Top advertisers and brands 40
Chapter one: Insights into the top 5 campaigns
8 Top countries in creativity 42
Palau Pledge 9
#Bloodnormal 13
Project Revoice 17 Methodology 45
Exclusive the Rainbow 20
It’s a Tide Ad 23
Chapter two: Three lessons from the

WARC Creative 100 27
Telling stories across the user experience – Kate Stanners 28
'The Wonder Of What The F*ck' – Martin Beverly 30
Purpose in action – Alex Grieve 32
Executive summary
This report analyses the world's most creative than just speak. In his article in important than the conversation the
Chapter Two, AMV BBDO’s Executive idea drives.
campaigns to uncover trends from the latest creative Creative Director, Alex Grieve, writes
of brands needing to be ‘radically 2. Casting customers
strategies, and brings together insights and opinion authentic’; about a brand knowing Directly involving customers
from the creators of award-winning ideas. Its basis its purpose and then ‘actually doing in campaigns, whether to drive
something to make it happen’. behavioural change, to generate
is the Creative 100, an annual ranking of campaigns In this year’s Creative 100, several PR coverage, or to drive brand
brands evolved their purposeful engagement, is another theme that
based on their performance in creative competitions messaging, from driving awareness comes through in this year’s Creative
from around the world. to encouraging consumers towards 100. This year’s most creative brand,
behavioural change. Palau Pledge is Burger King, had its customers
so interesting because it is a great dress up as clowns in a campaign
example of how small behavioural that trolled its competitor’s mascot,
nudges can change perceptions. Ronald the Clown. Skittles cast one
Looking across the campaign This approach to purpose is a superfan as the star of its Super Bowl
By Amy Rodgers, Research Editor, write-ups and guest essays in this significant progression from the campaign, and Marmite asked their
WARC report, three trends emerge that awareness-driving purpose work customers to take a DNA test.
are worthy of note seen in the creative ranking in recent For those that worked on Skittles,
years. it was the counterintuitive nature of
1. Purpose-led strategies evolve Combining purpose with an the campaign that they felt made
The use of purpose as a driver for element of participation has another it compelling, and this applies to a
marketing strategies continues result – it is arguably more likely to number of the top campaigns this
to be a regular feature of the top fuel PR coverage and conversation. year. Bringing customers into the ads
creative campaigns, and was central Martin Beverley, adam&eveDDB’s means they become more than just
to the number one campaign, Executive Strategy Director, ads; in the words of Martin Beverley,
Palau Pledge. Purpose is becoming writes in his piece in Chapter Two “many of the ideas on this list aren’t
commonplace – many brands have about this conversation: that the just ads, they’re acts – designed to
concluded that they need to make levels of actual participation in impact popular culture and make a
a meaningful change – to do rather these campaigns is arguably less dent in the real world”. Participation
3 WARC Creative 100 2019: Lessons from the world’s best creative campaigns © Copyright WARC 2019. All rights reserved.
Executive Summary
elements can turn ads into acts,

and in a low-attention economy, this
examples of this. Tide used
traditional media in an innovative
means brands are thinking much
more carefully about different
Weaving experiences
approach has become an important way, hijacking the brand awareness points in the day they might need across these journeys
way of gaining attention as the act of generated by other ads, and turning to reach consumers, or different
participation necessitates attention. it into awareness for Tide. And rather mindsets they can target. Weaving gives a brand identity
The winning campaigns using this
strategy only worked because
than create a series of separate ads,
they created a 'choreographed brand
experiences across these journeys
gives a brand identity at a time when
at a time when they
consumers were willing to get experience'. they are struggling for attention. The are struggling for
involved in them. Paul Bichler, Executive Creative big creative idea is as important as
Director at Saatchi & Saatchi ever, but the challenge for brands attention.
3. Creativity across the experience New York explained “We hacked and their agencies is to make it work
Rather than seeing a campaign advertising with advertising itself”. harder across the user journey.
as an entity existing on a single Budweiser's Tagwords campaign
channel, this year some of the also sought to play with consumers'
most awarded brands created assumptions about advertising in
experiences where the creative idea its category, and harnessed print
was woven into every element of the and outdoor to drive the audience
purchase journey, building customer to online search. The audience's
executions across multiple channels active participation was key to the
to work at those moments. Working idea’s success, as it was for Tide.
in surprising ways within and across These brands created experiences
media, weaving the creative idea for consumers, who then actively
throughout the experience, led wanted to engage.
to success for a number of top David Lubars, Chief Creative
campaigns. Officer of BBDO Worldwide (the
In her article for this report, top-ranked network in the Creative
Saatchi & Saatchi’s Global Chief 100), sums some of these trends
Creative Officer, Kate Stanners, up nicely in his interview for this
discusses Budweiser’s Tagwords report. The growing focus on
and Tide’s It’s a Tide Ad as great customer experience, he argues,
Introduction to the rankings
The WARC Creative 100 is the successor to The premise of the Creative 100 We invited three global creative
remains the same: to rank the 100 directors to each take a closer look
the Gunn Report, and is now part of WARC most awarded creative marketing at trends that run through the top
ideas, and the agencies and brands work in this year’s Creative 100. Our
Rankings, which tracks the winners’ lists from all associated with them. contributors are:
the most important advertising award contests, For the first time, we are releasing
the list of shows we track to compile Telling stories across the
globally. The results of creative competitions are the awards. This decision to be campaign experience –
transparent was made with the Kate Stanners, Chairwoman and
used to compile the Creative 100, which ranks continued independent status of Global Chief Creative Officer,
the best campaigns and companies in creativity the rankings in mind, and the show Saatchi & Saatchi
selection was made based on the
from the 2018 show year. results of a global industry poll. The Wonder of What The F*ck –
Shows included in the 2019 WARC Martin Beverly, Executive Strategy
Creative 100 are: Director, adam&eveDDB
Global: Cannes Lions Purpose in action – Alex Grieve,

International Festival of Creativity, Executive Creative Director,
Clio Awards, D&AD, London AMV BBDO
International Awards (LIA), The
One Show.
Regional: Adfest, Dubai Lynx,
El Ojo de Ibeoamérica, El Sol,
Eurobest, Golden Drum, Loeries,
Spikes Asia.
The methodology for how the

rankings are compiled is explained
on page 45 and in greater detail on
the rankings site.
Customer experience? It's like getting married
David Lubars, Chief Creative Officer of BBDO How would you define creativity? Does “The Work. The Work. The
You know it when you see it and feel Work” translate into a particular
Worldwide, the top-ranked agency network in the it. It's really a visceral feeling you get, way of working with strategists,
as opposed to something you can and with other agencies on a brief?
2019 Creative 100, shares his thoughts on developing just tie down with your left brain. What you're describing sounds like
great work, the rise of customer experience, and the But it's what makes us unique – to process. We don't do that. I mean,
find an insight or something that we have rigour and discipline. We
new challenges facing clients. resonates with people, something make our deadlines. But the thing
they recognise even though they that makes this exciting and fun as
never articulated it to themselves. an industry is every day is a zero
It's almost like a neck-down feeling sum. You don't know what you're
before your brain registers it. And going to run into every day, and each
that's the magic of it. It’s magic. problem needs its own bespoke way
to approach it.
How does BBDO’s mantra of So, I don’t want to say that we have
“The Work. The Work. The Work” some kind of ‘way we do it’ and I
translate into everyday work? could write, ‘Here's ten bullet points;
David Lubars, Chief Creative We’re a big network. And I know this is what what you do’. I think you
Officer, BBDO Worldwide. this sounds jargony, but we think of need to have things a little more
ourselves as a global boutique. So open than that and let the solutions
when we say, ‘The Work. The Work. reveal themselves without any kind
The Work,’ that's all we think about. of preconceived process.
The right insight, the right strategy,
the right, nimble fast solutions that How is creativity changing to
really get to somebody – and again, meet the interest in customer
the visceral magic and creative – experience?
that's all we care about. We don't Customer experience, or 'end to end',
care about 20 meetings, or politics, is the journey, and every step of the
or titles. We care about creativity to way, what a customer sees, feels,
move our clients. hears, at different points of the day
Customer experience? It's like getting married
and in different places or mindsets each other throughout the day and turn them into Macy's assets. But it's trying to create something that
– all the way into a store, or with the throughout the years, as opposed to very heavily-branded [for] Macy's, doesn't exist. What we do is we just
product itself, or some other way of a one-way, ‘Here's this thing. Buy it.’ as part of the bigger idea of ‘The take their truth – their good soul and
interacting. For example, the Mars Hungerithm remarkable you.’ their good truth – and then have that
That's the new part of it. But it campaign from a couple of years So that is what we're fighting for on rise through the work.
needs a big idea more than ever. ago. That could've just been a behalf of our clients: that they don't Now, sometimes it's about
Because a big idea has to connect promotion with 7-Eleven. But get lost when there are only a few something [deeply meaningful], like
eight different things, as opposed because we have a big idea – a places to buy things. [when] we did The Talk for P&G. But
to a TV ad and a newspaper ad. You unifying idea – it became a ‘You’re that's because they actually had the
need a big idea to hold it all [together] not you when you're hungry’ epic. Which campaigns do you admire ‘My Black is Beautiful’ program, so it
and have it make sense. That's the kind of thing I'm talking from the WARC Creative 100? was a truth that already existed.
You see a lot of things on about. So what you’ll start to see now There were many that I admire. I think But to try to cram a truth
Instagram today where there are four is instead of just that one thing, you'll you made good choices. onto someone: that’s kind of
sweaters and you pick the orange see 30 things from Snickers during a I liked It’s a Tide ad from P&G disingenuous and reads as fake
one and you don’t even know who year that can touch you and help you because, first of all, it was a way to immediately.
you bought it from. So clients are get married to us. co-opt every other ad in the Super
going to start to ask, ‘Did people Bowl, but it was also a really clever What are your priorities for the
even know that it was from me? And Are marketers focusing too much use of media. That was a good one. next 12 months?
how do I establish a relationship?’ on short-term, targeted messaging But the campaign that I wish we So, we like to say that we never want
You need a big idea, but you've got to rather than building brands? did today is the US KFC work from the cement to harden. That's my job:
be in all of these places to have that If you buy stuff on Instagram, the Wieden + Kennedy with the different I keep stirring it so it doesn’t harden,
idea glow. brands know you like it, but you might Colonels (KFC Brand Integrated, it keeps things sloppy, and maybe
It feeds into a lot of things – sonic not know who you are buying it from. ranked 98th). It's so clever and messy. But it means you can flow
branding, visual identity, out of home You ask somebody, ‘Where did you brilliant and uses their legacy but the way the world wants you to go,
– that are now coming back in a big buy that?’ and they'll say ‘I bought it pushes it forward in a new way. instead of becoming stuck.
way. It's this journey through the day, from Instagram.’ So my thing is to just keep that
and the week, and through the life to So that's why we do all these How are you approaching brand thing liquid and flowing so that
create a relationship with somebody. interesting things with Macy's where purpose with your clients? whatever happens, we're ready to
It’s almost like you’re getting married you know it's Macy's. We even We don’t work on purpose-oriented jump on it. Every day is a zero sum.
to somebody and you do things for hacked some Instagram assets to briefs with clients, because that's Just wake up and be ready to go.
Chapter one:
Insights into the top five campaigns
Palau Pledge: A behavioural
approach to purpose
Children of Palau, I take this pledge, as your guest, to

1. PALAU PLEDGE
preserve and protect your beautiful and unique island
Brand: Palau Legacy Project home. I vow to tread lightly, act kindly and explore
Agency: Host/Havas Sydney mindfully. I shall not take what is not given. I shall not
Country: Global
harm what does not harm me. The only footprints I shall
leave are those that will wash away.
1. Palau Pledge: A behavioural approach to purpose
The Palau Legacy Project, a sustainable travellers had never been outside
of their own countries and cultures,
tourism marketing body, created an so had little to no awareness of
how to sustainably interact with
immigration policy for the island of Palau Palau’s fragile coral reefs and unique
to protect the nation from environmental ecosystems.”
The surge of tourism was causing
damage. A new visa stamp, signed by tourists, damage to the country’s natural
environment, with travellers
changed immigration laws, customs processes breaking coral, littering beaches
and tourist behaviour, permanently. and disturbing the islands’ wildlife. The team approached Host/Havas
But tourism accounts for 85% of in Sydney who agreed to take on the
Palau’s GDP, so trying to restrict project pro bono. “Our pitch to them
access to the country’s holiday was simple,” says Clarke. “We have a
Challenge hotspots wasn’t an option. How whole country to save and no money
With its turquoise waters and white could the country’s tiny population to do it. Are you in?!”
sands, the Pacific island nation of – outnumbered by tourists by eight
Palau has become a popular travel to one – protect it from such a large Concept
destination. But its small population number of visitors? Host/Havas briefed their entire
of 20,000 was taken by surprise when Joining forces with fellow creative department who came
tourism numbers doubled between residents Nicolle Fagan, Koskelin- up with 47 different ideas to solve
2014 and 2015 to 160,000 visitors. Gibbons and Nanae Singeo, Clarke Palau’s problem. Clarke and her team
“This wasn’t the only issue,” founded the Palau Legacy Project to then presented their favourite three
says Laura Clarke, co-founder of help ignite positive change. “All four to the President of Palau, Tommy E.
the Palau Legacy Project. “Palau’s co-founders have a background in Remengesau Jr.
visitor demographic also changed high-level global communications,” “We approached Palau’s problem
dramatically from primarily eco- says Clarke. “We knew that in the same way we would help a
conscious, high-value diving harnessing the creative power of brand change customer behaviour,”
customers, to price-driven, package our industry could help solve Palau’s says Clarke. “We knew that roughly
tour visitors. Many of these new tourism challenges.” 80% of people wanted to do the
1. Palau Pledge: A behavioural
approach to purpose – continued
right thing in terms of protecting given. I shall not harm what does not
Palau, but we needed to give them harm me. The only footprints I shall
the information and tools they leave are those that will wash away.
required to make the right decisions. “President Remengesau is often
In this way, we could help Palau’s heard citing the ancient proverb,
enforcement resources focus on the ‘We do not inherit this world from
20% of people who were out to break our ancestors, we borrow it from
the rules. our children’,” Clarke explains. “He
We also wanted to encourage immediately saw how the Palau
people to ‘self-select’ Palau as a Pledge was a modern interpretation
destination – the thinking being of Palau’s culture of conservation
that if environmental and cultural and could see how effective it could
protection was something that be. He also saw how it could be
resonated with them, they were more adapted for other regions in need of
likely to be the kinds of visitors who similar solutions.”
would treat Palau with respect.” Sadly tourism’s changing pledge, stating that tourists could live TV interview at the UN. The
The winning idea ticked all the demographics and overcrowding be fined up to $1m if they violate campaign also engaged influencers
boxes. The Palau Pledge is a new visa is causing problems in countries the country’s strict environmental who encouraged their fans to
entry process that asks every visitor all over the world, even in mature laws. It then created an ecosystem take the pledge online, including
of Palau to make a formal promise to markets like Europe and the US. of ethical travel information to make Hollywood actor Leonardo DiCaprio,
the country’s children. The following “The Palau Pledge was designed sure all visitors were educated about former US Secretary of State, John
is stamped onto a tourist’s passport with other markets in mind,” says correct behaviour, including an Kerry and the Rolling Stones.
upon arrival for them to sign in the Clarke. “We always wanted it to be in-flight film shown on all incoming To teach future generations of
presence of an immigration officer: an adaptable, scalable strategy that flights to Palau, a brochure inserted travellers to behave responsibly, the
Children of Palau, I take this could help other destinations deal into passports, airport posters, Palau Legacy Project worked with
pledge, as your guest, to preserve with specific tourism-related issues.” signage around the island and a primary schools in Australia. Using
and protect your beautiful and website containing an ethical the Palau Pledge as a case study, the
unique island home. I vow to tread Execution tour guide. schools are educating children about
lightly, act kindly and explore The Palau Legacy Project introduced To launch the new visa system, the importance of taking care of the
mindfully. I shall not take what is not a new immigration policy with the President Remengesau gave a natural world.
1. Palau Pledge: A behavioural
approach to purpose – continued
Results
The Palau Pledge is in place Lessons
permanently as the official passport
stamp of the country. The campaign Tap behaviours but it would have jarred with the tools and solutions that individuals
garnered more than 2bn media Signing something makes vibe of the islands. “It is not in line can use that do make a difference.
impressions and the Palau Legacy people more likely to stick to a with Palauan culture to 'correct' Our industry, more than any
Project has been approached promise, according to 2011 study a guest’s behaviour – even when other, can empower people to
by many other countries and the Signature Effect by Keri L. they are doing something harmful take action in their own way
organisations that want to administer Kettle and Gerald Häubl. That’s to the environment,” explains toward preserving our planet.
similar schemes. Hawaii and New because a signature acts as a Clarke. “The tone of the campaign Cumulatively these actions add
Zealand have already implemented “self-identity prime”, encouraging needed to reflect Palau’s warm, up to significant change and by
pledges inspired by Palau. people to personally identify with welcoming culture of hospitality communicating their impact back
“Most importantly, we have already whatever it is they are signing. and emotionally connect with to the audience, more people will
seen an uptick in peer-to-peer “The psychological significance people, engaging them towards be inspired to take action. That’s
enforcement of the Pledge principles of signing a Pledge in an official the cause”. how real change happens.”
in Palau and can actively see how it is document like your passport
helping protect Palau’s environment cannot be underestimated when Empower your audience
and culture,” says Clarke. it comes to changing behaviour,” The Palau Pledge gave tourists the
In 2018, Palau’s government took says Clarke. The signature awareness and tools they needed
the campaign a step further by helped instill a sense of personal to help rather than hinder the
passing the Responsible Tourism responsibility in Palau’s visitors. environment. “Most people admit
Education Act, which further to feeling completely overwhelmed
embedded the Palau Pledge into Be human when they contemplate a huge
Palauan law. It also introduced new While the campaign needed to global issue like climate change,”
initiatives such as banning single inform tourists about the strict says Clarke. “They think that they
use plastic, prohibiting the use of environmental laws, the Palau are powerless to make a difference
sunscreens that are not “reef safe” Legacy Project chose to avoid or that it’s the government or
and making businesses responsible using legislative language. Not private sector’s responsibility to
for educating their customers on the only would this turn people off, do something. But we can create
principles of the Palau Pledge.
#Bloodnormal: Reframing a taboo
They decided to take positive representation of periods

2. #BLOODNORMAL
to its most extreme, and swap the strange, blue liquid
Brand: Bodyform/Libresse traditionally representing period blood on ads, for actual,
Agency: AMV BBDO, London red period blood. "We wanted to harness the power of
Country: Europe
a mainstream brand saying, 'what's the big deal? Here
it is'", says Lossgott. "We knew that could shift the
paradigm".
2. #Bloodnormal: Reframing a taboo
Bodyform and Libresse launched a campaign should feel great,” says Margaux
Revol, Senior Strategist at AMV
centered on an online video that disrupted BBDO. “It’s not just about letting
people run the run - you should jump
taboos around periods in British culture by first, lead the way and create the
showing period blood in a positive light. change yourself.”
Then one day, British tennis
player Heather Watson spoke up
about her anxiety about getting her
period at Wimbledon. “It was one
of the first instances when we fully their parents about menstruation.
acknowledged the taboo and that we But rather than focusing on the
needed to do something about it,” symptoms, the team resolved to
says Revol. tackle the issue itself. “The root of
Challenge However, as a challenger brand – the taboo is representation,” says
In 2013, Bodyform started working Bodyform was number six globally Nicholas Hulley, Creative Partner
with AMV BBDO, London to create its and three in the UK – they couldn’t at AMV BBDO. “The traditional
Live Fearless positioning, aiming to compete with the market leaders in representation of periods in culture
help women and girls live confidently terms of spend, and so the initial brief is threefold: they are either not
without periods holding them back. was to be “outstandingly meaningful represented at all, shamed, or
However, the idea of “confidence” to women”. Revol explains, “We completely euphemised.”
was itself becoming commoditized, couldn’t just throw a lot of money at The agency came up with lots
making the positioning less media, we had to be so meaningful to of ideas about how they could
distinctive. women that we would get noticed”. represent periods positively. “One
The team decided that if they really of the early ideas was to show a US
wanted to make a difference to the Concept Open tennis player taking a pad
way women felt about themselves Research revealed many of the out of her bag and walking to the
and their periods, they’d need to lead symptoms of period taboos – such bathroom, nonplussed,” says Nadja
by example. “We realised that you as the fact that 56% of teenagers Lossgott, Creative Partner at AMV
should not just tell people that they would rather be bullied than talk to BBDO. “If you were to show that it
2. #Bloodnormal: Reframing a taboo – continued
would make everybody else feel like life activations designed to combat
periods were normal”. period taboos head-on and infiltrate
In being a mainstream brand, culture. These included:
it had a unique opportunity to
make a difference. “A mainstream An original poem by feminist
positioning can actually be your poet Dominique Christina
ally in normalising something,” A film bursary to fund
says Hulley. It decided to take three period positive films
positive representation of periods Limited edition, luxurious period
to its most extreme, and swap the pants designed by French
strange, blue liquid traditionally underwear brand Dessu
representing period blood on ads, Pop culture objects for sale,
for the actual colour of period blood. including a pad-shaped
“We wanted to harness the power inflatable lilo
of a mainstream brand saying, A graphic novel by Victo Ngai party. The #Bloodnormal film also social voice versus its competitors
‘what’s the big deal? Here it is’”, says where the hero has her period shows blood trickling down a girl’s and gained more than 4.5bn PR
Lossgott. “We knew that could shift Positive period gifs available on legs in the shower and being poured impressions.
the paradigm.” Giphy over a pad in a product demo. The success of the campaign gave
Period-related stand up comedy the team ammunition to go back
Execution by Saffron, a 12 year old comedian Results to the broadcasters months later.
Bodyform launched a series of real- Partnerships with influencers The film was banned from broadcast Seeing that attitudes were changing,
such as Swedish fashion blogger worldwide. “The battle to get the ad the French broadcasters changed
Julian Hernandez on online platforms was incredibly their mind and decided to put the ad
hard, with broadcasters it was a no- on air.
The various activations were go at the beginning,” says Revol. The film is continuing to open
housed together in a campaign film However, the controversy people’s minds across the world. “It’s
containing other scenes designed surrounding the campaign resulted an ever growing project,” says Revol.
to normalise periods, such as a man in it appearing on broadcast through “More markets are still taking it on.
buying a pack of sanitary towels and earned media anyway. Bodyform South Africa just launched it and
a woman asking for a pad at a dinner became the number one in share of Australia is about to run it too.”
2. #Bloodnormal: Reframing a taboo – continued
Lessons in tackling taboos

Infiltrate culture comfortable. In fact, the criteria deal of backlash, especially at the arguments for the team to
The team combined the hero for your work is that if everyone is beginning. “Some people have a reference when they faced the
film with varied activities in the comfortable it’s probably not brave very visceral reaction to the film inevitable criticism.
real-world, enabling its message enough.” and they often don’t know why,”
to penetrate as many corners of says Lossgott. “They’ve got a Build a strong team
society as possible and for the Get the balance right back catalogue of being told that While working on such a risky
work to have maximum impact. Getting the tone of the campaign period blood is horrific, that men campaign, the team learned to
“We thought, instead of doing right was no mean feat. While are completely disgusted by it and lean on each other whenever
just one idea, how can we do all of Bodyform needed to push women should feel disgusting”. moments of doubt creeped in.
them?” says Lossgott. “By involving boundaries, it might have scared The fact that people often don’t “With people telling us we were
different areas in culture that you people off if the campaign was understand their own prejudices crazy and having to face rejections
can reach, you can change different too brash. “We didn’t want to go can make tackling an issue head- left, right and centre, at some point
spaces,” says Lossgott. “You can’t to places that made the majority on tricky. “We realised that a taboo we all went down the rabbit hole
just do one thing and expect the of people feel humiliated, but then doesn’t fight back as the taboo, it and questioned ourselves,” says
world to change.” we weren’t prepared to spare a few always hides its prejudice,” says Lossgott. “There’s no way that we
people’s blushes at the expense Hulley. “When you’re arguing your could have made anything without
Get used to discomfort of most women’s wellbeing”, point, people don’t respond by the team and the relationships that
“From the outside it sounds really says Revol. “It’s a complex game saying, ‘periods are disgusting’. we had.”
easy, but day to day, on top of of finding the balance between They’ll say ‘we must be sensitive to Hulley agrees. “That’s what I
whatever else you’re doing, your bravery and empathy, you need to people’s needs’, or ‘but next we’ll learned: you can’t do it alone. You
job becomes like giving everyone do the two together.” have to show feces’. People don’t would have questioned yourself
therapy because you’re trying to realise that they are just articulating too much and thought, ‘am I nuts?’
understand ‘why’,” says Revol. Prepare for the haters the taboo. You’re constantly dealing You need someone else to say,
“The reality is that breaking taboos While #Bloodnormal has been with secondary arguments.” ‘no, it’s cool’. At some point, every
is very complex. You are always overwhelmingly applauded, the The agency’s accounts team single person in the team saved the
having to go to places that are not team have had to face a great created a file of strong counter campaign from near death.”
Project Revoice: Recreating a voice through AI
The campaign demonstrates that data is not just about

3. PROJECT REVOICE
analytics or even colourful infographics, but is a real-world,
Brand: The ALS Association creative tool that can change lives. The basic technology
Agency: BWM Dentsu, Sydney behind Project Revoice existed before the campaign, but
Country: Australia
people didn’t know about it or understand its value to the
ALS community. By presenting the technology via Quinn’s
story, the ALS Association was able to capture people’s
attention and educate them about the need for voice
banking.
3. Project Revoice: Recreating a voice through AI
“We were hoping this would help the

The ALS Association, a non-profit tackling community see the need for voice
motor neurone disease, developed innovative banking and also provide them with a
platform that would make it easier for
deep learning technology which enables ALS them to do it,” says Frederick.
When it came to choosing a
patients to speak again. The campaign used patient to work with, Frederick had
short-form video to share the story of Pat just the guy in mind. Pat Quinn, co-
founder of the ALS Association, had
Quinn, an ALS patient who regained his voice. pioneered the organisation's viral
Ice Bucket Challenge in 2014. Since
then, his condition had deteriorated
and he had lost his ability to speak
to create personalised speech completely.
Challenge generating software. However, often Thanks to the Ice Bucket
Amyotrophic Lateral Sclerosis (ALS) ALS patients are unaware of these Challenge, there was enough
affects nerve cells in the brain and services or in denial about the reality footage of Quinn giving interviews
spinal cord causing sufferers to of their condition. “People who have or speeches for his voice to be
gradually lose the ability to control ALS often don’t want to think about recreated using AI. The team
muscles around the body. This the day when they won’t have a voice partnered with Montreal-based
means that eventually people with anymore, so they don’t record it,” voice cloning startup Lyrebird as
ALS lose their ability to speak. says Brian Frederick, Executive Vice its technology can recreate a voice
While eye-controlled, speech President of Communications at the using just 30 sentences.
generating devices are available, ALS Association. “We managed to cobble together
communicating via a computerised about two hours of footage of
voice can leave sufferers feeling that Concept Pat,” says Frederick. “BWM Dentsu
they’ve lost part of their identity. If Working with BWM Dentsu, Sydney, started working with Lyrebird,
ALS patients can capture their voice the ALS Association decided to use improving the quality of the voice
before they lose it, voice banking machine learning technology to over the course of a couple of
services can use the recordings give an ALS patient their voice back. months. When they finally thought
3. Project Revoice: Recreating a
voice through AI – continued
they had it, they showed me, and I
said ‘yeah, that sounds like the Pat Lessons
that I remember’”.
Rethink data
Execution The campaign demonstrates that
The ALS Association gave Quinn data is not just about analytics
his voice back, which he used for or even colourful infographics,
the first time at an event in front of but is a real-world, creative tool
friends and family. The moment was that can change lives. “This takes
filmed and turned into an emotional speech tech to a whole new level
video explaining Quinn’s story and and means everything to how I
the need for ALS sufferers to bank communicate,” states Quinn in a
their voices for later use. press release. “I really didn't like
The association developed the to hear my old computer voice, so
first online platform dedicated to I often avoided getting involved in
educating people about the need conversations. This technology
for voice banking, including links gives me back a vital piece of
to Lyrebird’s online voice-cloning myself that was missing. After
offering and a guide about the other hearing my voice through this new about it or understand its value to disease but their friends and family.
services available elsewhere. technology, I was blown away! For the ALS community. By presenting According to social psychologist
patients to know that they can still the technology via Quinn’s story, Melanie Green’s concept of
Results speak in their own voice after ALS the ALS Association was able to ‘narrative transportation', when we
The video reached more than 1m takes it away will transform the way capture people’s attention and are immersed within a narrative,
views in the first week. The campaign people live with this disease." educate them about the need for the real world falls away and we
generated 700 articles, 1bn voice banking. Through telling a real become more open to new ideas.
impressions and now ALS sufferers Educate through story life story, the organisation was also In this respect, the campaign will
across the globe can sign up to the The basic technology behind able to demonstrate the impact help persuade sufferers to start
project to reclaim their voice. Project Revoice existed before the voice banking can have on not thinking about banking their voice
campaign, but people didn’t know just the person suffering from the and help get past their wall of denial.
Exclusive the Rainbow: Breaking conventions
to grab attention
We realised that in order to stand out we were going

4. EXCLUSIVE THE RAINBOW
to have to break things. But it's not just about breaking
Brand: Skittles things for the sake of it. It’s about being so considered,
Agency: DDB Chicago purposeful and newsworthy that people have no choice
Country: USA
but to pay attention.
4. Exclusive the Rainbow: breaking conventions
to grab attention – continued
Skittles used the US Super Bowl to reach the
masses by showing an exclusive ad to just one
teenage fan. The public watched his reaction
live during the Super Bowl via Facebook,
reaching the masses but not through a
traditional in-game advertising spot.
Challenge
The Super Bowl offers brands a game, it’s harder than ever for brands show its ad to one person. The
chance to get in front of a captive to stand out. “How do you get heard chosen Skittles fan was teenager
audience of more than 100 million when everyone is shouting?” he says. Marcos Menendez from Canoga
people. After three years of buying “We realised that in order to stand Park, California. With the same
30-second Super Bowl spots at $5m out we were going to have to break production values as a regular
a pop, Skittles wanted to find another things. But it’s not just about breaking Super Bowl ad, Skittles created a
way of driving engagement for the things for the sake of it. It’s about commercial that they knew would
2018 game. “The brief was simple,” being so considered, purposeful and blow Menendez away.
says Colin Selikow, Executive newsworthy that people have no
Creative Director, DDB Chicago. “Get choice but to pay attention.” Execution
Super Bowl-sized attention, without Three weeks before the Super
the traditional media of an in-game Concept Bowl, Skittles announced that
Super Bowl commercial.” Rather than trying to win the Menendez would be the only
However, with so many companies attention of millions of Super Bowl person in the world to ever see
vying for attention during the big viewers, Skittles decided to only this year’s commercial. One week
4. Exclusive the Rainbow: breaking conventions
to grab attention – continued
later, the brand released four
teaser videos starring Friends Lessons
actor David Schwimmer to keep
fans guessing what the mysterious Maintain integrity The team were proud of the Be open to collaboration
ad might be about. In one film, The counterintuitive nature of content they had created, but David Schwimmer brought many
Schwimmer feeds Skittles to his Exclusive the Rainbow is what Selikow knew that by sharing it of his own ideas to the scripts,
talking sandwich. “You’d probably makes it so compelling. So for they would be going against their which helped elevate the creative
like to know if this is a scene from the idea to come off, Skittles had word and would risk losing their and make his involvement feel
the upcoming Skittles Super Bowl to stick to its promise that the audience’s respect. “When you’re authentic. “Often there is no link
ad, but I can’t tell you, because ad would only ever be seen by truthful with consumers they between what a brand is trying
they’re only showing it to one single Menendez. “Our biggest challenge appreciate that,” he says. Proving to do and the celebrity they’ve
person,” says Schwimmer in the ad, was to stay true to the integrity its integrity to customers was more chosen to help them do it,” Selikow
before screaming at his sandwich of the idea,” says Selikow. “There powerful than any content Skittles explains. “It was really important to
to keep quiet. were lots of conversations about could have shown them. us to find someone who was really
Skittles revealed the ad to whether we could release the ad a into what we were doing.”
Menendez on Super Bowl Sunday year later or fake leak it somehow. Stand out with a simple idea Schwimmer fell in love with
and fans could livestream his It took a lot of discipline to say no.” Skittles managed to cut through the idea as soon as he was saw
reaction to the ad via on Facebook. the Super Bowl clutter by creating the scripts and for Selikow this
Menendez was interviewed an idea that was so simple you can enthusiasm confirmed that he
afterwards and explained that along explain it in one sentence. “We was the right person for Skittles
with Schwimmer, his home and even created a Super Bowl ad and only to work with. On set, Schwimmer
his mum made an appearance in the showed it to one teenager: it’s a engaged with the team as another
ad – though Schwimmer shot her very simple idea and for me that creative, enabling his talent to
with a laser, turning her into Skittles. was the key,” says Selikow. “Great shine through in the end result.
ideas in the environment that we “Actors are creative people and
Results live in today are all very simple. they like getting involved,” says
The campaign generated 1.5bn If people have to think too much Selikow. “Going in open broadens
earned impressions and resulted in about it, they’ll just go back to the types of people who are willing
a 7% sales lift for Skittles over a five- YouTube.” to engage with you.”
week period.
It’s a Tide Ad: innovation with traditional
media
5. IT’S A TIDE AD
We hacked advertising with advertising itself. We used
Brand: Tide
Agency: Saatchi & Saatchi New York
traditional media in a different way that would expand
Country: USA our impact so far beyond what we could actually buy. We
treated it as an experience and not as an ad.
5. It’s a Tide Ad: innovation with traditional media
Tide laundry detergent grew consumer loyalty

in the US by hijacking popular and traditional
ads with the message that if there are clean
clothes, it's got to be a Tide ad. After 70 years
on the market, the brand wanted to extend its
penetration, global awareness and consumer
loyalty.
The spectacle lit up social media – time by doing segments than you
people couldn’t believe he was on TV could ever buy,” Bichler said. “That
Challenge in dirty clothes. informed a lot of the thinking that we
At more than $5m for a 30-second Later on in the game, the brand had for this year.”
spot, the pressure is on for brands ran its commercial, revealing that In order to be the most loved
to triumph at the Super Bowl. For the Bradshaw’s stain was all part of a brand at the Super Bowl this year,
2018 game, US detergent brand Tide Tide ad. “Everyone was in on it and the brand needed to be the most
set the bar especially high, tasking they appreciated the joke,” said Paul memorable. “We decided we pretty
Saatchi & Saatchi New York with Bichler, Executive Creative Director much needed to own the whole
making it the most loved brand at the at Saatchi & Saatchi New York during game if we’re really going to achieve
Super Bowl. a WARC seminar at Cannes Festival that goal,” said Bichler.
Tide had given the agency exactly of Creativity. The campaign was very
the same brief the previous year. The successful, generating 4.8bn media Concept
resulting Bradshaw Stain campaign impressions and $12m of free media. “Our idea was that we’re going to own
starred former American football It also taught the agency a clean, which is the primary benefit of
quarterback Terry Bradshaw, who valuable lesson about the big Tide,” Bichler said. This was a stark
appeared live during the broadcast game. “We learned that you could departure from the brand’s previous
with a food stain on his white shirt. own more Super Bowl advertising ads which had all been stain-
5. It's a Tide Ad: innovation with
traditional media – continued
focused, and centered the campaign segment showed actor David
on what people love about Tide. Harbour in parodies of advertising
“Then we added another layer,” he tropes, including a typical car,
said. “We’re going to own clean, but insurance and cola ad. “We were
every other ad is going to help.” saying, all of these things that you
The team realised they could take recognise, they’re really promoting
advantage of the fact that people Tide behind the scenes,” said Bichler.
in ads are always dressed in clean For the second quarter, the brand
clothes. They decided to give a long- partnered with Old Spice. The iconic
used tagline a trim. “If it’s got to be Isaiah Mustafa opened the ad before
clean, it’s got to be Tide”, became revealing that he too, was actually
“If it’s clean, it’s got to be Tide”. starring in a Tide ad. “This gave us a
Tide was able to justify this great canvas,” said Bichler, “showing
bold stance because of its size: people that another brand is in on
the brand accounts for almost half this now”.
of the market in the USA. But even At half time Tide showed that
with the concept in place, the team the NFL team themselves were in
needed to find a way of owning the on the joke. For the third quarter,
3.5 hour broadcast with a budget “We were going to need to a series of ads. Plus, after Tide partnered with Budweiser and
that could only buy them 100 orchestrate this in a way that we each segment aired, the brand Mr. Clean for two more spots. “We
seconds of airtime. were telling a 3.5 hour joke,” says encouraged conversation on social. needed to find brands that were
Bichler. “We needed to get the right A newsroom of people responded immediately recognisable and
comedic timing. How are we going to people’s posts in real time and iconic, because we weren’t allowed
to do this in a way that we don’t burn enlisted the help of influencers like have two logos in the ad,” Bichler
this thing out, but equally people Betty White, NFL Players and the star explained.
don’t forget us.” of the ads, David Harbour. To show that the network was in
To launch the idea, the brand had on the joke as well, Tide arranged
Execution to introduce the audience to the for the announcer to participate.
The result was a choreographed concept and brief them to look for “We went from Tide, to other brands,
brand experience, rather than Tide ads themselves. The opening to a whole national football league
5. It's a Tide Ad: innovation with
traditional media – continued
participating, to the network being
part of this joke as well,” said Bichler. Lessons
For the final quarter, Tide’s spot
featured Harbour playing tennis in a Trust your audience
parody of a pharma ad. “We left the For the campaign to come off, Tide
programme open. We didn’t want to had to trust that viewers would
have a ‘we’re done’ moment in this,” get the brief and start looking out
said Bichler. “The reason being is, for Tide ads. In this respect, the
it’s an ad that we feel can carry on campaign demanded a lot from
forever. We wanted to keep people the audience: as well as asking
guessing. We somehow felt that if we them to pay attention to Tide’s
closed the programme, we wouldn’t own commercials, it requested
be doing it justice.” that they scrutinise spots from
other companies too. “We broke
Results so many rules and had to trust
The campaign generated a 35% people all along the way to follow
sales growth as well as 3.6bn media us,” said Bichler. Own more time He believes that they changed
impressions and features in 680 It’s a Tide Ad proves that you can the way marketers think about
news outlets. Add to an experience still be innovative when using buying television spots. By thinking
Rather than take attention away traditional media. Tide used the through the communication
from the Super Bowl experience, traditional medium of Super Bowl architecture of a campaign, the
Tide’s brief to the audience actually advertising but used it in a different space you are buying is much more
added another layer of fun to the way. “We hacked advertising with than the seconds or airtime. If you
day. The ads created a guessing advertising itself,” said Bichler. plan an entire experience, you can
game that the audience could take “We used traditional media in a own the time in between and after
part in. “We like to think we changed different way that would expand your ads too. “We like to say, we
the viewing experience of the Super our impact so far beyond what we didn’t buy ads, we bought the Super
Bowl with advertising. I think we could actually buy. We treated it as Bowl,” said Bichler. “And that’s not
added to it,” said Bichler. an experience and not as an ad.” something that’s really for sale.”
Chapter two:
Three lessons from the WARC Creative 100
Telling stories across the user experience
A lot of the standout campaigns this year were to create amazing visual pieces.
My personal favourites being the
not singular executions, they were ideas embroidered knickers and the giant
blow up sanitary pad with wings. It
that seamlessly wove through different was championing a cause and so
channels, with a sensitivity to the medium rightly played in the channels where
we could share and support it.
and context, writes Saatchi & Saatchi's Similarly, the wonderful ‘It's a
Tide Ad’ which took over the Super
Chairwoman & Global Chief Creative Officer, Bowl played on an advertising
Kate Stanners. conceit: namely that all clothes
worn in commercials are pristine,
making every ad, a Tide ad. The
idea was seeded at the start of the
The brilliant #Bloodnormal campaign Super Bowl broadcast in the first
for Bodyform, was at its heart a ad break establishing the premise
social idea. It was provocative, taking
Kate Stanners, Chairwoman an advertising trope as the tension.
& Global Chief Creative Officer In this case the fact that for years’
at Saatchi & Saatchi. commercials have demonstrated
effectiveness of sanitary pads by
using blue die instead of a blood
red. From here grew a fantastic
celebration, liberation and ultimately
normalisation of women’s periods.
The film was powerful, energetic,
witty and fun. It set the tone of the
campaign, which then naturally
popped up in social channels. It used
influencers, designers and stylists
Telling stories across the user experience – continued
by spoofing your ‘typical Super Then there was the brilliantly

Bowl car ad’ or beer ad, or shaving rebellious Budweiser TagWords
ad and highlighting the bright, campaign. Simple press and
white, stain-free clothes worn in all, outdoor. Iconic typographical
finishing with the cheeky question: executions using the brand's red
so does that make every ad a Tide and white colours, with headlines
ad? Then throughout the game written from words that when
they spoofed famous ads from Old searched would display legendary
Spice to Budweiser, making them rock and roll bands, with yes, a
all Tide ads. Every one was a gem, Budweiser in hand. The picture
beautifully written and performed. box giving the clue to take to your
A perfect Super Bowl takeover device. Search, drugs and rock
that spread onto social platforms. and roll. The resulting campaign
Even competitors had to post that experience was one that broke all
they were Not a Tide Ad. This was a the rules of alcohol advertising and
campaign that totally understood copyright. And that’s the point, one
the context, channel and audience. channel leading to another platform
Effortlessly winning the Super Bowl. to give us an interactive experience
that lasted far longer than the usual was playing with the world’s biggest
dwell time of a poster. TV advertising stage and Budweiser
This to me, is modern storytelling. was hacking the system to break
All three campaigns explored the the rules. All three understood their
possibilities of the channels they audience and cultural context to
were in. Weaving from real physical perfection. Weaving their stories
spaces to virtual experiences through different formats they
creating more powerful and lasting enabled us to interact with them
connections with their audience. All in a way that created a far deeper
three understood the brand's point involvement. This for me is where the
of view, and the world it was playing fun happens, between the lines and
in. Bodyform was campaigning, Tide boundaries of the media plan.
'The Wonder Of What The F*ck'
It’s when an idea feels jaw-droppingly All of the wondrous work on this list
has what Richard Brim and I like to
surprising or audacious enough to make call ‘The Wonder Of What The F*ck’.
Here are audacious ideas that got
you a little scared that you know you’re onto people talking because they hadn’t
something, writes adam&eveDDB’s Executive seen anything like it before. These
are ideas that in execution were
Strategy Director, Martin Beverley. taken beyond the realms of ordinary
campaigns. Many of them make you
think, ‘They did what?’
In fact, many of the ideas on this and, for our very own yeast-extract
list aren’t just ads, they’re acts – spread, Marmite, we got our target
designed to impact popular culture audience to take a DNA test.
and make a dent in the real world. However, these ideas should not
All of the wondrous work on this be mistaken as ‘deep engagement’
list is also strikingly simple. The campaigns in a traditional sense.
ideas are so ingenious that your Rather, the engagement bit is often
Martin Beverly, Executive Strategy brain is filled with both joy and centred around ‘The Wonder Of
Director, adam&eveDDB jealousy. Once you hear the idea, What The F*ck’. That’s what gets
it’s seared into your brain. In just people talking, makes the campaign
one sentence, you can immediately famous, and which in turn makes
imagine all of the places that the idea the campaign more effective. In
could play. reality, I suspect relatively few
A trend that WARC spotted this people participated in many of these
year is that many of the highest campaigns, compared with how
ranked campaigns involve customer many ended up hearing about them.
participation. Burger King got its I know that we only sold a handful
audience to dress up as clowns, for of Marmite Gene DNA test kits at
instance, while the Palau Project £89.99 – but we sold thousands
asked tourists to sign a pledge, more jars of the product itself, in
'The Wonder Of What The F*ck' – continued
supermarkets up and down the to try it? This is when we started to

country. wonder if people’s love or hate of
Certainly, we would like to think Marmite could be genetic.
that our ‘Marmite Gene’ campaign We could have just made an
has a healthy dose of ‘The Wonder advert about this playful premise,
Of What The F*ck’. That’s what made but we decided to go much further.
it famous beyond media circles and We worked with genetic scientists
advertising award juries. to establish whether there was in
The idea was born out of a fact ‘a Marmite Gene’. Our scientific
problem, as they often are. Marmite’s friends took 273 saliva samples and
sales were in decline and there was conducted over 8000 hours of DNA
the threat of losing supermarket analysis before finding that there
shelf space. was indeed a genetic determinant
We needed to breathe new life into of a love or hate of Marmite. We
the long running ‘You Either Love even published a ‘white paper’ in
It Or You Hate It’ campaign and get the academic community, detailing
people to try Marmite once again. our methodology and conclusions.
But how could we persuade parents And we didn’t stop there. Using this
who hate Marmite to get their kids science, we created DNA test kits for the Marmite Gene, that we sold have generated the same impact, but
online so that people could find out if the combination of PR and traditional
they were born a lover or a hater. advertising was potent indeed.
By making life difficult for Marmite reclaimed shelf space
ourselves and by going beyond the as retailers backed the campaign
expected, we got precisely the ‘what and a long-term sales decline was
the f*ck’ reaction we were looking reversed, with a 14% uplift in sales.
for. The story of the campaign made Sometimes, difficult is worth doing.
national news, generating 2bn ‘The Wonder Of What The F*ck’ is
impressions. It was talked about all something we need more of in this
over social media and on prime time game. It’s the lifeblood of creativity
TV. Advertising alone would never and, ultimately, of effectiveness.
Purpose in action
The evolution of purpose towards changing Back in the days when our politicians
went into politics to serve, not
behaviour mirrors a broader trend in serve themselves, one of them,
I can’t remember who, probably
marketing: in asking people to affect change, William Gladstone or some other
brands have realised they too need to change, big-bearded Liberal said this: “I don’t
want to be something, I want to do
writes AMV BBDO's Executive Strategy something.”Nice, huh?.
The smartest brands are wising up
Director, Alex Grieve. to this and following suit. Because
it’s no longer enough to be seen
as a purposeful brand, you have to purpose. Yes, Kendall I’m talking
actually be one. You have to change about you. And you, Gillette. And
shit. Or as Gandhi (another great even you, Fearless Girl, launched
liberal; very poor on the beard front) by the company nobody can
more eloquently put it: “Be the ever remember as a statement
change you want to see in the world”. of their ennobled crusade for
Alex Grieve, Executive Creative What that means above all else female empowerment, which was
Director, AMV BBDO is a requirement to be radically subsequently accused of paying
authentic. It means thinking really, female employees less than their
really hard about what your purpose male counterparts.
is, why you’re doing it and then, you What’s interesting about the
know, actually doing something to evolution of purpose towards
make it happen. changing behaviour is that it mirrors
One of the few good things about a broader trend in marketing. In
social media is that the antenna of asking people to affect change,
the mob is finely tuned to name, brands have realised they too
shame and eviscerate what they need to change. Instead of looking
regard as the biggest brand FAIL! inwards, they need to look outwards.
of them all: The inauthentic use of It’s not about them, it’s about us.
Purpose in action – continued
Their purpose is our purpose. actually made a dent in culture. You

Welcome to the golden age of have started a movement. It’s activism
customer centricity. at scale. You’ve done Gandhi proud.
Ask not what your customers You’ve changed shit. Or in this case
can do for you, but what you can do blood. Shit is next on the list.
for your customers. Words won’t
suffice anymore, it’s about actions.
And when it comes to deciding what
those actions should be there’s one
very simple rule brands need to
obey: only get involved in things you
have the right to be involved in.
A company that makes sanitary
products has the right to talk about
normalising period blood.
A company that makes 4x4
Jeeps doesn’t (this hasn’t actually
happened but nothing would
surprise me). In other words you have
Ask not what your
to have skin in the game. You have Morgan.
to be prepared to lose something, in What you have to weigh up is – is it
customers can do
order to change something. worth it? Does the reward outweigh for you, but what
For our Essity clients on the risk? So, it’s tough and the
#Bloodnormal that something stakes are high but when you get the you can do for your
was their jobs. Courage calls to purpose right, it feels right.
courage. And realize this: you are And when it feels right, you want
customers. Words
going to piss people off – Corporate to do the right thing. So you do. won't suffice anymore,
Affairs, shareholders, some of your Energy leads to action. You walk the
customers and, hopefully, Piers talk. And suddenly you find you have it's about actions.
Chapter three:
Results and commentaries
Top campaigns
Top 10 marketing campaigns in the WARC Creative 100

Campaign title Brand Primary agency Product category Location Points
1 Palau Pledge Palau Legacy Project Host/Havas Sydney Non-profit, public sector & education Australia 250.3
2 #Bloodnormal Bodyform/Libresse AMV BBDO London Toiletries & cosmetics UK 199.5
3 Project Revoice The ALS Association BWM Dentsu Sydney Non-profit, public sector & education Australia 189.5
4 Exclusive the Rainbow Skittles DDB Chicago Food USA 175.6
5 It’s a Tide Ad Tide Saatchi & Saatchi New York Household & domestic USA 154.8
6 Scary Clown Night Burger King LOLA MullenLowe Madrid Retail Spain 154.4
7 The Gene Project Marmite adam&eveDDB London Food UK 139.1
8 The Talk Procter & Gamble BBDO New York Non-profit, public sector & education USA 133.1
9 No Conditions Apply – Sindoor Khela The Times of India FCB Ulka Mumbai Media & publishing India 128.9
10 Go With The Fake Diesel Publicis New York / Publicis Milan Retail USA 125.9
View full rankings on WARC Rankings
Top agencies for creativity
Top 10 creative agencies in the WARC Creative 100

Rank Agency Location Points
1 BBDO New York, USA 403.2
2 AMV BBDO London, UK 295.9
3 adam&eveDDB London, UK 291.0
4 LOLA MullenLowe Madrid, Spain 280.3
5 McCann New York, USA 258.6
6 Host/Havas Sydney, Australia 204.9
7 McCann London, UK 193.6
8 Colenso BBDO Auckland, New Zealand 190.9
9 BWM Dentsu Sydney, Australia 189.5

The top 10 creative agencies were from five cities, in five different
10 Saatchi & Saatchi New York, USA 185.5 countries, and spread across three continents. Seven networks were
represented, BBDO Worldwide being the most successful with three
agencies. The top three agencies have all topped the table in the past but
View full rankings on WARC Rankings only seven of the top 10 have ranked in the table in a previous year.
Agencies commentary
The top 50 agencies came from a total of for the highly successful highest ranked independent
21 different countries vs. 20 last year. The USA #Bloodnormal campaign, and one agency this year was Jung von
other campaign in the Top 100: Trash Matt Hamburg, in 13th place.
was the most represented with 13 agencies in Isles in 22nd. Work for Guinness also
contributed to its total.
the table, followed by Brazil, Spain and the UK, Climbing one spot into third was
all with four agencies. four-time winner of the agencies
ranking, adam&eveDDB. It had two
campaigns in the top 100: The Gene
Project for Marmite in 7th, and More
Than a Game for Fifa in 30th. Further
There are only six agencies in the for the third time, having been the work for Calm, Cybersmile, Red
world that have demonstrated the top agency twice in the Gunn Report. Cross, John Lewis & Partners and
highest level of consistency and It created a number of award John Smiths added to its tally.
excellence in creativity, and have winning campaigns but the most
been ranked in the top 50 agencies successful was for Procter & Other points of note
for the last 15 years in a row, with Gamble: The Talk. This P&G branding
three of them in the top three ranks of campaign was 8th in the top 100
The UK and US dominate the
this year’s table. campaigns, and further campaigns agency ranking with six of the top
Those six agencies are: by the agency for Downtown 10 agencies shared between the
AlmapBBDO São Paulo, AMV Records (Live Looper) and Bacardi two countries.
BBDO London, BBDO New York, (Music Liberates Music) joined it in
There were two newcomers to
adam&eveDDB London, Dentsu 14th and 73rd. Campaigns for AT&T, the top 50 that landed straight
Tokyo and Wieden+Kennedy Foot Locker, Lowe’s, Macy’s Sandy into the top 10: LOLA MullenLowe
Portland. Hook Promise and Snickers added to Madrid and new agency Host/
BBDO New York’s points. Havas Sydney ranked in 4th and
The top three in detail 2nd place was taken by AMV BBDO 6th respectively.
In first place, BBDO New York was in a successful year which saw it
There were no independent
the most awarded agency of the year climb from 20th. It was responsible agencies in the top 10. The
Top agency networks and holding companies
Top agency networks in the WARC Creative 100 Top 10 holding companies in the WARC Creative 100
Rank Agency Holding company Points Rank Holding company Points
1 BBDO Worldwide Omnicom Group 1700.5 1 Omnicom Group 3494.1
2 DDB Worldwide Omnicom Group 1028.7 2 WPP 2206.1
3 McCann Worldgroup Interpublic Group 1027.9 3 Interpublic Group 2009.7
4 Ogilvy WPP 991.0 4 Publicis Groupe 832.9
5 TBWA Worldwide Omnicom Group 590.8 5 Dentsu 468.6
6 MullenLowe Group Interpublic Group 452.5 6 Havas Group 314.4
7 Dentsu Aegis Network Dentsu 392.0 7 Hakuhodo DY Group 214.9
8 VMLY&R WPP 365.5 8 Accenture 126.6
9 FCB Interpublic Group 337.2 9 MDC Partners 83.5
10 Grey Group WPP 336.0 10 BlueFocus 82.2
Agency networks / holding companies commentary
less than a point. The network had

Of the top 50 networks, 16 are independent, five agencies in the top 50, led by
10 belong to WPP, six to Omnicom, five to McCann New York in 5th, followed by
McCann London, McCann Madrid,
Interpublic Group, five to Publicis Groupe, two McCann Bucharest and Mercado
McCann Buenos Aires.
to Dentsu, two to MDC Partners and one each
to BlueFocus, Chime, Hakuhodo DY Group Other points of note
and Havas Group.

No Publicis Groupe agencies
made the top 10 for the first
time ever. Leo Burnett has
consistently been in the top 10
agency networks list since 1999,
but with its points continuing
This year the top two networks Talk for Procter & Gamble by BBDO to be impacted by the holding
are part of Omnicom Group. Last New York. company’s decision to stop
year’s number one retained its top DDB Worldwide moved back entering awards for a year, the
spot; BBDO Worldwide has now up to their regular 2nd place network slipped down to 20th this
been the most awarded network ranking this year. adam&eveDDB year.
in the Creative 100 (previously in London continues to be their
W ieden+Kennedy was again the
Gunn Report) for the 13th year in best performing agency, ranking highest ranked independent
a row, with 28 different agencies 3rd, but DDB offices in Chicago, network, in 13th place down
contributing to their total. It had five Auckland and Madrid also made the from last year’s 10th. Cheil was
agencies in the top 50 (including the top 50 table with a further 21 offices the second-placed independent
1st and 2nd ranked agencies) and contributing. network, improving on its ranking
was responsible for 11 of the top 100 McCann Worldgroup were by one place into 14th this year.
campaign ideas. These included 2nd the highest placed network for
placed #Bloodnormal for Bodyform Interpublic Group in 3rd place, by a
by AMV BBDO and 8th placed The very narrow margin behind DDB of
Top advertisers and brands
Top 10 advertisers in the WARC Creative 100 Top 10 brands in the WARC Creative 100
Rank Advertiser Location Points Rank Brand Sector Points
1 Mars USA 478.2 1 Burger King Retail 391.6
2 Restaurant Brands International USA 391.6 2 Nike Clothing & accessories 208.2
3 Procter & Gamble USA 306.9 3 Pedigree Household & domestic 200.1
4 Nike USA 232.3 4 Palau Legacy Project Non-profit, public sector and education 200.0
5 Samsung South Korea 218.4 5 Bodyform/Libresse Toiletries & cosmetics 199.5
6 Volkswagen Group Germany 218.2 6 IKEA Retail 198.7
7 Unilever Netherlands / UK 213.0 7 The ALS Association Non-profit, public sector and education 189.5
8 Essity Sweden 204.0 8 Diesel Clothing & accessories 177.7
9 Palau Legacy Project Australia 200.0 9 Skittles Food 177.6
10 IKEA Sweden 198.7 10 McDonald’s Retail 170.9
Advertisers and brands commentary
Of the top 50 advertisers, 24 have their In the advertiser rankings, Procter campaign, and Palau Legacy
& Gamble took 3rd place. With two Project, driven into 9th through
headquarters in the USA, 5 in Germany, campaigns in the top 10, for Tide their winning campaign, Palau
3 in Australia, 2 from India, Netherlands/UK, and Procter & Gamble itself, the Pledge.
advertiser accumulated points from
14 different industry sectors
Sweden and the UK and 1 each from Belgium, a further three campaigns outside were represented in the top 50
the top 100 to push its ranking up brands table - 8 in non-profit/
Brazil, Canada, China, Colombia, Denmark, one place on last year’s 4th. public sector/education, 7 in
France, Guatemala, Italy and Romania. retail, and 6 in technology and
Other points of note electronics.

There were an unusual number
of new entrants to the top 50
brands this year. Palau Legacy
Nike lost its first place to Burger King put it into 4th this year – one place Project entered in 4th place, and a
this year after a very strong showing down on last year, with 14 campaigns second non-profit brand, The ALS
from the food retailer. The fast food contributing points to its total. Association, entered in 7th.
chain had three campaigns in the top Third place in the brand rankings
Skittles entered the top 50 for the
100, with a further 11 contributing went to Pedigree, with its owner, first time since 2012, in 9th, and
to their total. Restaurant Brands Mars, taking the top rank on the Diesel for the first time ever, in
International, Burger King’s owner, advertiser table. Pedigree had two 8th.
was 2nd in the top advertiser ranking campaigns in the top 100, both by
A weaker than usual performance
through Burger King’s performance Colenso BBDO Auckland, and a by Volkswagen meant the
alone. further three campaigns contributed automotive advertiser fell from
Last year’s top brand, Nike, moved to its total, including the 4th ranked 1st to 6th this year.
down to 2nd place this year. The campaign, Exclusive the Rainbow, for
There were two new entrants to
brand had two campaigns in the top Skittles. Mars’ advertiser points were the top 10 this year: Essity, owner
100, and Nike’s advertiser points (the added to by three other brands: 5 of Bodyform/Libresse and creator
sum of all the Nike-owned brands) Gum, Snickers and Whiskas. of the 2nd placed #Bloodnormal
Top countries in creativity
Top 10 countries in the WARC Creative 100

Rank Country Points
1 USA 2988.6
2 UK 1241.8
3 Australia 971.7
4 Brazil 698.4
5 Spain 687.6
6 Germany 633.5
7 India 405.3
8 France 380.8
9 South Africa 336.9

The USA continues to top the table for creativity - ahead by more than 1,500
10 Japan 320.1 points. 68 different countries registered points this year, and 31 different
countries were represented in the top 100 campaigns. This is up from 26
countries last year as size continues to be no barrier to creativity.
Countries commentary
15 countries continue to have made the Seven of the creative top ten 10 of the top 100 campaigns
countries were also in the top ten for including 2nd placed #Bloodnormal
top countries ranking for all 20 years of the ad market size, according to WARC by AMV BBDO. Twenty-four agencies
adspend data: from the UK registered points, with
ranking: Argentina, Australia, Brazil, Canada, four of them making the top 50 table
France, Germany, Japan, New Zealand, South 1. USA (also 1st in market size) and three in the top 10.
2. UK (4th in market size) Australia continues to punch
Africa, Spain, Sweden, Thailand, Netherlands, 4. Brazil (8th) above its weight in award shows
6. Germany (6th) versus its adspend. It retained
UK and USA. 7. India (5th) its third place with 29 agencies
8. France (10th) registering points and three of
10. Japan (3rd) those in the top 50 table. The top
ranked campaign idea originated in
Not present in the top 10 were two Australia; Host/Havas Sydney’s work
of the biggest ad spend markets; for the Palau Legacy Project was the
China (2nd for adspend) and Russia most awarded creative work of the
(7th), which came 28th and 21st year in the Creative 100.
respectively in the rankings.
The US continues to be the top
country for creativity by a big
margin. 80 US agencies registered
points with 13 agencies in the top
50 table, and 23 agencies working
on campaigns in the top 100.
With almost a third of the top 100
campaigns originating in the USA, it
was the most represented country in
the creative rankings.
Retaining its second place in the
country rankings, the UK produced
WARC Creative 100: 2019 winners’ quotes
What makes me most proud of topping the first WARC Creative 100 is
that it’s not just one agency or campaign. It’s multiple agencies delivering
work for multiple clients across multiple forms and platforms.
David Lubars, Chief Creative Officer, BBDO Worldwide
The fact that such a human solution, created with the absolute dedication and
passion to improve the world that our children will inherit has been ranked
the number one campaign in the world, says something really good about
what our industry values and has the power to achieve. I’m infinitely grateful
to the incredible team, clients and country who made this happen.
Seamus Higgins, Executive Creative Director, Host/Havas Sydney
At Burger King we believe creativity can be a competitive advantage. Doing

things differently, standing out, and becoming part of pop culture definitely
help strengthen our brand and our business. Our marketing teams and agency
partners are honoured to receive this recognition from WARC.
Fernando Machado, Global Chief Marketing Officer, Burger King
Methodology
The WARC Creative 100 is the successor to the Gunn than competitions that limit the on the client and agency side. This
size of the pool. So, for example, a allows WARC Rankings to build
Report, and is now part of WARC Rankings, which global competition will usually be rankings of individual agencies,
harder to win than a single-market agency networks, agency holding
tracks the winners’ lists from all the most important competition. Or a category that companies, brands and advertisers.
advertising award contests, globally. The results of is open to all types of marketing These rankings reflect the points
activity will be harder to win than a generated from all campaigns in
creative competitions are used to compile the Creative category that is only open to, say, the database, not just the top 100
digital marketing campaigns. campaigns in the Creative 100. As
100, which is built on a rigorous methodology, used To reflect this, WARC Rankings with campaign scores, there is a
consistently across the competitions we track. takes into account how much of cap of 20 Award Points that a brand
the global advertising market or agency can win from a single
each competition represents. It campaign in a single competition.
is able to do this using WARC's Grand Prix wins are exempt from
How we built the rankings The global survey of industry comprehensive adspend data this cap. As with campaign scores,
We ran a global survey of executives. The survey used to resources, which include analysis by all Award Points are multiplied by
industry executives, asking which select the competitions included channel and by geography. the relevant competition category
competitions they prioritise, was also used to gauge which of For each competition category weighting to produce the scores
based on their perception of the the competitions selected are in which a campaign wins, its for agencies and brands. There is
competition’s rigour and prestige. viewed as the most prestigious Award Points are multiplied by the a cap of 200 points that a brand
This poll was used to compile the or rigorous. Winners at the competition category weighting or agency can win from a single
list of shows tracked for the ranking. most-cited awards schemes are to produce a score. For example, campaign across all competitions.
Campaigns that won awards in those given extra weighting in the final if a campaign wins a Silver in We have also collated information on
competitions were awarded points rankings. a competition category with a the agencies behind the campaigns
based on the level of award they weighting of 3, it will score 12 (4 (including, where they have been
won (Gold, Silver, Bronze etc.). Those The level of ‘potential’ Award Points x 3 weighting). listed, contributing agencies).
points are then weighted according competition. In theory, Once the scores for campaigns
to the standing of each competition competitions or categories have been calculated, it is
in the global marketing industry. The that are open to a wider 'pool' of possible to assign points to the
calculation includes data from: campaigns will be harder to win organisations behind them – both
More from WARC Rankings
WARC Rankings is the global W

ARC Media 100 – the world’s
index of excellence in creativity, best advertising based on Contact WARC Rankings
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and applauded ideas in the world the Gunn Report, and published Research Editor
and their creators. They consist of: as a separate ranking for the first amy.rodgers@warc.com
time in 2018).
W
ARC Creative 100 – the world’s
most creative advertising ideas As well as the full rankings, Contact WARC
(formerly the Gunn Report, which subscription to the WARC Rankings
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ARC Effective 100 – the campaigns (both from WARC London WC2B 4AF Suite 535, Washington,
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effectiveness awards (formerly enquiries@warc.com +1 202 778 0680
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Lessons from the world’s best creative campaigns

Executive summary 3 Chapter three: Results and commentaries 34

Chapter two: Three lessons from the

elements can turn ads into acts,

Global: Cannes Lions Purpose in action – Alex Grieve,

The methodology for how the

Children of Palau, I take this pledge, as your guest, to

They decided to take positive representation of periods

Lessons in tackling taboos

The campaign demonstrates that data is not just about

“We were hoping this would help the

We realised that in order to stand out we were going

Tide laundry detergent grew consumer loyalty

by spoofing your ‘typical Super Then there was the brilliantly

supermarkets up and down the to try it? This is when we started to

Their purpose is our purpose. actually made a dent in culture. You

Top 10 marketing campaigns in the WARC Creative 100

2 #Bloodnormal Bodyform/Libresse AMV BBDO London Toiletries & cosmetics UK 199.5

4 Exclusive the Rainbow Skittles DDB Chicago Food USA 175.6

7 The Gene Project Marmite adam&eveDDB London Food UK 139.1

View full rankings on WARC Rankings

Top 10 creative agencies in the WARC Creative 100

1 BBDO New York, USA 403.2

2 AMV BBDO London, UK 295.9

3 adam&eveDDB London, UK 291.0

4 LOLA MullenLowe Madrid, Spain 280.3

5 McCann New York, USA 258.6

6 Host/Havas Sydney, Australia 204.9

7 McCann London, UK 193.6

8 Colenso BBDO Auckland, New Zealand 190.9

9 BWM Dentsu Sydney, Australia 189.5

1 BBDO Worldwide Omnicom Group 1700.5 1 Omnicom Group 3494.1

2 DDB Worldwide Omnicom Group 1028.7 2 WPP 2206.1

3 McCann Worldgroup Interpublic Group 1027.9 3 Interpublic Group 2009.7

4 Ogilvy WPP 991.0 4 Publicis Groupe 832.9

5 TBWA Worldwide Omnicom Group 590.8 5 Dentsu 468.6

6 MullenLowe Group Interpublic Group 452.5 6 Havas Group 314.4

7 Dentsu Aegis Network Dentsu 392.0 7 Hakuhodo DY Group 214.9

8 VMLY&R WPP 365.5 8 Accenture 126.6

9 FCB Interpublic Group 337.2 9 MDC Partners 83.5

10 Grey Group WPP 336.0 10 BlueFocus 82.2

View full rankings on WARC Rankings

less than a point. The network had

and Havas Group. 

1 Mars USA 478.2 1 Burger King Retail 391.6

5 Samsung South Korea 218.4 5 Bodyform/Libresse Toiletries & cosmetics 199.5

6 Volkswagen Group Germany 218.2 6 IKEA Retail 198.7

8 Essity Sweden 204.0 8 Diesel Clothing & accessories 177.7

9 Palau Legacy Project Australia 200.0 9 Skittles Food 177.6

10 IKEA Sweden 198.7 10 McDonald’s Retail 170.9

View full rankings on WARC Rankings

Top 10 countries in the WARC Creative 100

9 South Africa 336.9

At Burger King we believe creativity can be a competitive advantage. Doing

WARC Rankings is the global W

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Global: Cannes Lions Purpose in action – Alex Grieve,

Children of Palau, I take this pledge, as your guest, to

They decided to take positive representation of periods

We realised that in order to stand out we were going

and Havas Group.

At Burger King we believe creativity can be a competitive advantage. Doing