European Creativity Report 2018

European
Creativity
Report
2018
Contents
EUROPEAN 3 Foreword
CREATIVIT Y
THE SPECIAL AWARDS
REPORT 4 Network of the Year
2018 6 Agency of the Year
8 Independent Agency of the Year
10 Media Network of the Year
12 Eurobest Golden Palm
14 Country Agency of the Year
15 THE WINNERS EXPL AINED

(BY JURY PRESIDENT)
16 Brand Experience & Activation (Laurence Thompson)

17 Creative Data (Tracey Follows)
18 Creative Effectiveness (Lucy Jameson)
19 Design (Katrin Oeding)
20 Digital (Wesley ter Haar)
21 Digital Craft (Wesley ter Haar)
22 Direct (Laurence Thompson)
23 Entertainment (Louise Johnson)
24 Film (Kate Stanners)
25 Film Craft (Sandrine Huijgen Le Goff)
26 Glass (Kate Stanners)
27 Grand Prix For Good (Laurence Thompson)
28 Healthcare (Tom Richards)
29 Innovation (Tracey Follows)
30 Integrated (Laurence Thompson)
31 Media (Dan Hagen)
32 Mobile (Wesley ter Haar)
33 Outdoor (Allan Kelley)
34 PR (Mattias Ronge)
35 Print & Outdoor Craft (Katrin Oeding)
36 Print & Publishing (Kate Stanners)
37 Radio & Audio (Alan Kelly)
38 THEMES & TRENDS FROM THE WINNING WORK
44 ME THODOLOY
FOREWORD
European Creativity Report 2018

A Message from eurobest
Another year, another diverse body
of work for our juries to absorb,
dissect and wrangle over.
Eurobest has been recognising and rewarding the In 2018, once again, we saw creativity showcased
best of creativity from across Europe since 1988. as a powerful commercial tool, with many of
30 years have seen huge changes. In fact, the our winners demonstrating business results that
history of Europe is defined by change, and so is the simply couldn’t be argued with. Entries this year
complicated and fast-moving present – much like represented a new breed of work – work that
the industry itself, which we now see in a state of transcends the medium, enhances lives and seeks
almost constant evolution. to create or enter culture in a way that really drives
business. It’s now clear that investing in creativity is
Each year, our expert juries come together to find a business imperative.
common ground in their quest to reward great
ideas from this dynamic continent. The eurobest eurobest also represents a tangible way to measure
juries represent all parts of Europe and an ever- performance: a barometer of the most exceptional
broadening definition of creativity. work in Europe and an exercise in personal
benchmarking. We’re committed to finding the
They bring insights into cultural nuance and local best in creative class, and honouring their output.
values, as well as experience from their respective And we believe that awarded work is a reflection of
fields – using all of this to find work that represents what our brightest minds are producing today, as
Europe at its most creative. They’re motivated by well as a window into what’s to come tomorrow.
the understanding that creativity can drive both
business and positive change, inspiring across The inaugural European Creativity Report spotlights
generations and borders. this year’s winning and shortlisted work, offering
definitive rankings, jury insight, takeaways from the
We hope you enjoy exploring the work as much as 2018 awards and analysis of key industry trends. It’s
we did. both a celebration and a tool for raising your own
creative bar.
Louise Benson
VP Festivals Congratulations to everyone who won or was
shortlisted this year.
Simon Cook
VP Creative Excellence
3
THE SPECIAL AWARDS

Network of the Year
Publicis Worldwide claim
their title as Network of
the Year 2018
Network of the Year is awarded to the network “We are incredibly proud
whose member companies obtain the most
points for winning and shortlisted entries. that Publicis Worldwide
has been awarded Network
Publicis Worldwide took home 34 awards
in total this year. Big wins for the network of the Year by eurobest.
included ‘La Forêt – Bet on a Murderer’ This is testament to our
which won the Grand Prix in both Direct and
Entertainment, and ‘Black Supermarket’ which
commitment to producing
won the Grand Prix in Healthcare, as well as in effective creativity for
the inaugural Brand Experience & Activation
award.
major brands around the
network. I would like to
Publicis Worldwide pushed last year’s winner,
DDB Worldwide, down to second place.
thank our brave clients
and talented teams who
In third place, McCann Worldgroup made a
have contributed to the
strong showing, but slipped slightly from their
second place position in 2016 and 2017. work that has achieved this
recognition. ”
DDB Worldwide also amassed 34 awards
including the Creative Effectiveness Grand Bruno Ber telli
Prix. Global CCO, Publicis Worldwide
McCann Worldgroup won 31 awards, including

the coveted Grand Prix for Good.
4
THE SPECIAL AWARDS

Network of the Year
2018
2018 Rank Agency
1. PUBLICIS WORLDWIDE
2. DDB WORLDWIDE
3. McCANN WORLDGROUP
4. BBDO WORLDWIDE
5. havas
6. CHEIL WORLDWIDE
7. TBWA WORLDWIDE
8. SERVICEPLAN AGENTURGRUPPE
9. FCB
10. THE NORTH ALLIANCE
2017 Rank Agency
1. DDB WORLDWIDE
3. havas
2016 Rank Agency
1. DDB WORLDWIDE
3. BBDO WORLDWIDE
2015 Rank Agency
1. DDB WORLDWIDE
2. BBDO WORLDWIDE
3. HAVAS CREATIVE GROUP
5
THE SPECIAL AWARDS

Agency of the Year
Rothco | Accenture
Interactive, Dublin take the
top spot for 2018
Agency of the Year goes to the agency that “Rothco | Accenture

obtains the most points for winning and
shortlisted entries across all of the awards. Interactive have had a
whirlwind year, and to top it
Rothco | Accenture Interactive, Dublin’s big
winning campaign ‘JFK Unsilenced’ for The all off with eurobest Agency
Times/News UK & Ireland – awarded three of the Year is a fantastic way
Grands Prix – made sure they rose through
the rankings, taking the top spot for the first
for us to end.”
time in their history.
Jill Byrne
Director of Marketing
This is also the first time an agency from
Ireland has won a Special Award at eurobest,
as well as the first win for an agency from the
Accenture Interactive network.
“To win Agency of the Year
Taking second place was Publicis Conseil,
Paris, in a particularly strong year for the
as Rothco | Accenture
agency. Interactive is a wonderful
AMV BBDO, London secured the number
moment for all of us. It’s
three spot, rising significantly from their been a great 2018 made
position last year.
even more special by this
fantastic award.”
Patrick Hickey
CEO
6
THE SPECIAL AWARDS

Agency of the Year
2018 Rank Agency City Country
1. ROTHCO | ACCENTURE INTERACTIVE Dublin Ireland
2. PUBLICIS CONSEIL Paris France
3. AMV BBDO London United Kingdom
4. MARCEL Paris France
5. DDB DÜSSELDORF Dusseldorf Germany
6. McCANN LONDON London United Kingdom
7. DDB PARIS Paris France
8. McCANN BUCHAREST Bucharest Romania
9. adam&eveDDB London United Kingdom
10. PUBLICIS ITALY Milan Italy
2. BETC Paris France
3. &CO Copenhagen Denmark
4. JUNG VON MATT Hamburg Germany
5. FORSMAN & BODENFORS Gothenburg Sweden
1. INGO Stockholm Sweden
2. DDB GROUP GERMANY Berlin Germany
4. M C CANN LONDON London United Kingdom
2. FORSMAN & BODENFORS Gothenburg Sweden
3. BBDO GROUP GERMANY Berlin Germany
4. DDB SPAIN Madrid Spain
5. M C CANN ERICKSON Bucharest Romania
7
THE SPECIAL AWARDS

Independent Agency of the Year
A winning year for Try, Oslo
The winner of Independent Agency of the “Independent Agency of the

Year is the independent agency that obtains
the most points for winning and shortlisted Year is a great achievement
entries. for the whole agency, and
2018 saw Try, Oslo top the leader board. In a result of many people
first place, this was a significant rise from working hard over time. Try
their fourth place position in 2016 and 2017.
‘The Animals’ Own Emergency Number’ for
has a quite nerdy focus on
DNB Animal Insurance was their big winner, creativity as the best tool for
awarded a Grand Prix, two Silvers and a
Bronze.
effect, and I guess this award
tells us we did pretty good
Jung von Matt/Limmat, Zurich take second
place, continuing a trend – an agency from the
this year.”
Jung von Matt network have been represented
Lars Joachim Grimstad and
in the top five since 2015.
Øystein Halvorsen
Herezie, Paris took the number three spot, a Executive Creative Directors
significant rise in the ranks, while Serviceplan,
Munich had another strong year, coming in at
fourth place.
8
THE SPECIAL AWARDS

Independent Agency of the Year
1. TRY Oslo Norway
2. JUNG VON MATT/LIMMAT Zürich Switzerland
3. HEREZIE Paris France
4. SERVICEPLAN GERMANY Munich Germany
5. WIEDEN+KENNEDY AMSTERDAM Amsterdam The Netherlands
6. BBC CREATIVE London United Kingdom
7. ABBY PRIEST Stockholm Sweden
8. ANTONI Berlin Germany
9. GRABARZ & PARTNER Hamburg Germany
10. N=5 Amsterdam The Netherlands
3. N=5 Amsterdam The Netherlands
4. TRY Oslo Norway
5. SERVICEPLAN Munich Germany
4. TRY Oslo Norway
5. FRED & FARID PARIS Paris France
1. FORSMAN & BODENFORS Gothenurg Sweden
3. GRABARZ & PARTNERS Hamburg Germany
4. GARBERGS Stockholm Sweden
5. TRY/APT/POL Oslo Norway
9
THE SPECIAL AWARDS

Media Network of the Year
PHD Worldwide take pole
position
The Media Network of the Year is the media “Being named Media
network whose member companies obtain
the most points for winning and shortlisted Network of the Year at
entries in the Media Awards. eurobest reflects PHD’s
PHD Worldwide takes the title, the first time commitment to innovation
an Omnicom Media network has won this and creativity, which
award at eurobest.
ultimately delivers results
Taking the second spot for Media Network for clients. We’re delighted
of the Year 2018 was Carat, moving up from
fourth place last year.
to already be winning awards
for the work we are doing
Havas Media Group moved up the rankings
from 2017, taking third place.
with more recent clients
like Volkswagen and we look
forward to raising the bar
even more next year.”
Mike Cooper
Worldwide CEO
10
THE SPECIAL AWARDS

Media Network of the Year
2018 Rank Media Network
1. PHD WORLDWIDE
2. CARAT
3. HAVAS MEDIA GROUP
4. MINDSHARE
5. VIZEUM
6. MEDIACOM
=7 INITIATIVE
=7 ZENITH
=7 UM
2017 Rank Media Network
1. MEC
2. VIZEUM
3. UM
4. CARAT
5. MINDSHARE
11
THE SPECIAL AWARDS

eurobest Golden Palm
BlinkInk, UK take the top
spot
The eurobest Golden Palm Award honours the “It’s an honour to be

production company that obtains the most
points overall for entries in the Digital Craft, recognised, especially
Entertainment (Section A), Film, Film Craft, amidst such impressive
Mobile and Digital eurobest Awards, as well
as Branded Content, Digital, Digital Craft, competition. Thank you
Film, Film Craft and Mobile Mediums in the eurobest. What a way to end
eurobest Healthcare Awards.
the year.”
BlinkInk, UK claim the title for the first time
as the Golden Palm winners for 2018, beating
Bar t Yates
Executive Producer / Partner
Spain’s Blur Films and Henry, France who took
second and third place.
Winning campaigns for BlinkInk include the

Film Grand Prix-winning ‘Supporting Act’ and
‘World Cup – History Will Be Made’, both for
BBC One.
12
THE SPECIAL AWARDS

eurobest Golden Palm
2018 Rank Company Country
1. BLINKINK United Kingdom
2. BLUR FILMS Spain
3. HENRY France
4. FILMMASTER Italy
5. PRODIGIOUS France
6. WANDA PRODUCTIONS France
7. ACADEMY FILMS United Kingdom
8. SIZZER AMSTERDAM The Netherlands
9. SCHMOOZE France
10. BACON Denmark
1. MAKE ME PULSE France
2. &CO PRODUCTIONS Denmark
3. NEW LAND Sweden
4. TANGRYSTAN Norway
5. MPC United Kingdom
1. SONNY United Kingdom
2. BLINK PRODUCTIONS USA
3. O POSITIVE United Kingdom
4. STINK United Kingdom
5. TEMPOMEDIA Germany
1. BLINK PRODUCTIONS United Kingdom
2. PULSE FILMS United Kingdom
3. SOMESUCH United Kingdom
4. MEDS EN BASKETS France
5. ROGUE United Kingdom
13
THE SPECIAL AWARDS

Country Agency of the Year
The Country Agency of the Year Award is given to the agency from an individual
country that obtains the most points for winning and shortlisted entries in
eurobest. Companies credited in the Idea Creation role will get points towards
Country Agency of The Year Award.
For a country to qualify for Country Agency of the Year there must be a minimum of
five different entrant companies from that country.
For an agency to qualify to be awarded or placed in Country Agency of the Year,

they must obtain a minimum of 15 points as calculated in accordance with the
eurobest points system.
Country Agency
BELGIUM HAPPINESS BRUSSELS, AN FCB ALLIANCE, Brussels
CZECH REPUBLIC GEOMETRY GLOBAL, Prague
DENMARK &CO, Copenhagen
FINLAND TBWA\HELSINKI, Helsinki
FRANCE PUBLICIS CONSEIL, Paris
GERMANY DDB DÜSSELDORF, Düsseldorf
ITALY PUBLICIS ITALY, Milan
NORWAY TRY, Oslo
ROMANIA McCANN BUCHAREST, Bucharest
SPAIN CHEIL WORLDWIDE, Madrid
SWEDEN ABBY PRIEST, Stockholm
SWITZERLAND JUNG VON MATT/LIMMAT, Zürich
THE NETHERLANDS WIEDEN+KENNEDY AMSTERDAM, Amsterdam
UNITED KINGDOM AMV BBDO, London
14
THE WINNERS E XPL AINED

The Winners Explained
eurobest awards exceptional ideas: winning
work represents the most powerful campaigns
in the region. But before there are winners,
there’s judging.
And the judging process isn’t simple. Each

year we invite a careful selection of Europe’s
most discerning industry leaders to decide
which pieces of work are award-winningly
exceptional. Animated debate inside the
jury room leads to an eventual decision. In
a year filled with non-traditional campaigns,
meaningful innovations and work dedicated
to advancing social purpose, selecting our
winners was particularly difficult.
The work that was ultimately awarded a

coveted Grand Prix stood out to our juries as
hugely, unavoidably important. Frequently,
this was work that showed clear, inarguable
evidence of its effectiveness – campaigns that
proved creativity’s power to impact business
results in a very real and tangible way.
We hear from this year’s Presidents – the

people who led the 2018 juries in their
selection – on why the Grand Prix winning
work in their category was awarded, their top
takeaways from eurobest 2018 and what really
goes on inside the jury room.
15

Brand Experience & Activation
“We’re seeing brands adopt
disruptive and spikey approaches
to their messaging and when that
meets seamlessly with purpose,
then you’ve got the secret sauce”
Laurence Thompson
Co-President & Chief Creative Officer, McCann London
The Grand Prix Top takeaways

It’s rare that you see an idea that really changes Ideas as currency
the game. This courageous idea demanded a In our industry, the main currency is ideas. We
very brave client. The bravery of the client and trade on ideas, thrive on them, play with them
relationship with the agency must be celebrated. until we’re satisfied and the client is happy. We’re
paying our way with ideas and it’s so rewarding
to see confident ideas being led by the bigger
brands out there.
Disruptive approaches
There’s a misnomer that independent smaller
brands are the braver ones, but that’s just not
the case anymore. Being safe just can’t cut the
mustard – not with consumers. We’re seeing
brands adopt disruptive and spikey approaches to
their messaging and when that meets seamlessly
‘BLACK SUPERMARKET’ for CARREFOUR by
with purpose, then you’ve got the secret sauce.
MARCEL, Paris
And it tastes great.
Inside the jury room

We came to the table with a sense of impartiality,
open minds and dedication to recognising and
giving credit to the best work out there. It’s true
that everyone has an opinion, but these judges
GOLD GOLD have been carefully selected for their expertise,
‘SAVE OUR SPECIES’ ‘GO WITH THE FAKE’ their experience, their penchant for fairness
for LACOSTE by BETC, for DIESEL by PUBLICIS and ability to see beyond any frills and fanfare
Paris ITALY, Milan and look deeper into uncovering the impact and
effectiveness of a campaign.
16

Creative Data
“A new understanding that data needs
to be translated in more creative
way for more meaningful, better
communication with consumers”
Tracey Follows
Founder, Futuremade UK

We awarded ‘JFK Unsilenced’ because we had Meaning ful translations of data
never seen data presented in such an emotional We saw a lot of work using voice or speech data.
and inspiring way. We appreciated both the It seems that agencies and clients are starting
unique way in which the data had been collected to get to grips with using biometric data, not
and the uniqueness of the end result – a spine- just behavioural data to create innovation or
tingling inspirational speech by JFK that no-one in communication. There were also strong entries
the world had ever heard before. One that no-one in the data visualisation sub-category which
ever would have heard, had it not been for the points towards a new understanding that data
curiosity and tenacity of the team responsible. needs to be translated in more creative ways for
more meaningful, better communication with
consumers.
Innovation
Google’s ‘Dot’ was the most interesting to most
people, purely because it is such a far-reaching
innovation and a solution to a real-world problem.
We also awarded ‘Block Wish’ highly. We felt
that it really is so challenging to embark on a
commercial innovation in the retail world – they
had done exceptionally well, not just getting the
‘JFK UNSILENCED’ for THE TIMES/NEWS UK & IRELAND initiative off the ground initially but improving it
by ROTHCO | ACCENTURE INTERACTIVE, Dublin over 2016, 2017, 2018 and beyond.
GOLD
‘BLINDMETERS’ for OVK
/ PEVR by HAPPINESS
BRUSSELS, AN FCB
ALLIANCE, Brussels
17

Creative Effectiveness
“It was a great model for showing
how brands can get involved in
bigger cultural issues, without
over-reaching”
Lucy Jameson
Founder, Uncommon UK

‘Give the Rainbow’ demonstrated the ways in Proving ROI
which we can create marketing innovation, not just It was great to see most of the entries attempting
advertising. They gave away the Skittles rainbow, to isolate ROI, rather than just focusing on
creating a pure white pack and product, to intermediate measures such as likes, awareness or
support Pride. We loved the way this created a new engagement. That’s a critical step for our industry.
occasion for the brand, driving up sales without We have to prove the business impact of our work
requiring huge investment. It demonstrated that if we want to be paid fairly for what we do.
our creativity doesn’t always require millions of
pounds or an epic TV ad to drive real rewards. We
Mass personalisation
liked the partnership with a retailer and the test
It was great to see entries which showcased real
and learn approach. Finally, it was a great model
innovation. For example, we loved the Heineken/
for showing how brands can get involved in bigger
Jose Mourinho ‘No More Excuses’, leveraging their
cultural issues, without over-reaching.
sponsorship of UEFA Champions League across
over 100 markets. It was one of the first pieces of
work we’d seen which showed the value of ‘mass
personalisation’. They created over 1000 pieces of
‘No More Excuses’ content, each one relevant to
a different context. And they looked at its global
impact, which is notoriously difficult and complex.
Inside the jur y room

We saw brilliant, creative ideas which can turn
around the fortunes of a business. Innovations
which show how much further the industry
‘GIVE THE RAINBOW’ for SKITTLES by Adam&Eve/DDB can go if we apply our creativity more broadly.
Well-argued cases which show the rigour of our
industry and its financial impact.
And, with Brexit on the horizon, it’s hard not to

worry about the future of London as a hub for
creativity and advertising. So, eurobest feels more
important than ever. It’s a wonderful opportunity
CREATIVE EFFECTIVENESS AWARD CREATIVE EFFECTIVENESS AWARD to look outwards and upwards.
‘BUSTER THE BOXER’ ‘NO MORE EXCUSES’ for
for JOHN LEWIS by HEINEKEN by PUBLICIS
adam&eveDDB, London ITALY, Milan
18

Design
“Design is the translator
for the brand and its
communication”
Katrin Oeding
Chief Creative Officer & Creative Director,
Studio Oeding Germany

It’s magnificent, a masterpiece of brand. Solid and Brand purpose and truth-telling
reduced to the core idea. An analogue product The consumer is constantly searching for purpose.
goes digital. But for many brands, purpose is undefined.
Consumers are now looking to brands for a clear
attitude and more awareness of what is really
important in life. Once a brand has found those
central values, they can be expressed in several
ways. So, for example, sustainability projects
and brands are very popular at the moment.
Design is the translator for the brand and its
communication; purpose and attitude set the
triggers.
‘MERCEDES-BENZ G-CLASS – THE AMBER CUBE’

for MERCEDES-BENZ by ANTONI, Berlin
GOLD GOLD
‘FREE DEMOCRATS ’HITLER HASHTAG’
“MADE OF DEFEAT – for GESICHT
A PHOTOGRAPHIC ZEIGEN! by
TALE.”’ for FREE OGILVY GERMANY,
DEMOCRATS by Frankfurt
HEIMAT, Berlin
19

Digital
“It’s content, PR and integrated
work that uses the distribution
channels available and harnesses
user behaviours – these are the truly
digital cases”
Wesley ter Haar
Founder / Chief Operating Officer, MediaMonks

The winner is a clear reflection of the new The new digital:
definition of Digital. A thorough, fun and charming
understanding user behaviours
integrated campaign that also happens to tackle
More so now than ever, we can see that Digital is
cultural appropriation and do good in the world
a reflection of work that would have previously
by combining conversation with commerce.
appeared in other categories. That can make it
difficult for the jury – now that almost everything
is distributed through digital, the distinction is
difficult to keep. It’s no longer the “classic” digital
interactive piece that represents work in this
category. It’s content, PR and integrated work
that uses the distribution channels available and
harnesses user behaviours – these are the truly
digital cases.
The work here is as diverse as it’s ever been,

from Instagram content pieces to interactive and
‘BIHOR COUTURE’ for BEAU MONDE by McCANN real-time VR. It’s a broad category, but the work
BUCHAREST that was awarded was smart about native user
behaviour, and smart about the spread and scale
of the campaign across platforms and through PR.
GOLD GOLD
‘DOGS FOR DOGS’ ‘THE UNCENSORED
for PEDIGREE by CLM PLAYLIST’ for
BBDO, Paris REPORTERS WITHOUT
BORDERS by DDB,
Berlin
20

Digital Craft
“It’s often the intangibles
that make a piece of work
resonate”
Wesley ter Haar
Founder / Chief Operating Officer, MediaMonks

Great craft takes time, and for the Grand Prix Craft that resonates: polished
winner – months and months of painstaking
execution
production and R&D to bring to life a moment
In Craft this year, it was all about the joy of seeing
that is lost to history (now available to us again
something that had had the time to breathe,
because someone decided it should be). A mix
where production got the space to polish and
of creative ambition and craft quality coming
push for that extra mile. In this category, it’s
together to make for a stand-out project.
often the intangibles that make a piece of work
resonate.
In the end this comes back to a key question:

Could it have been done better? Not the idea,
not the concept, but the execution. Is it a bar for
others to jump, or was there a better version of
this possible?
‘JFK UNSILENCED’ for THE TIMES/NEWS UK & IRELAND

by ROTHCO | ACCENTURE INTERACTIVE, Dublin
GOLD
‘THE GALLERY OF
EMERGING SPECIES’ for
HASBRO by DDB PARIS
21

Direct
“Our industry’s currency
is ideas”
Laurence Thompson
Co-President & Chief Creative Officer,
McCann London

This was an excellent tie up with a betting platform. Ideas as currency
This entry took a human insight and turned it This year, we saw strong, disruptive ideas. Our
into something tangible and innovative as a way industry’s currency is ideas and it’s so good to see
of reaching a new audience. A direct response big brands leading the way with such confident
to a digital platform which then drove the huge ideas. We saw brands and purpose meeting totally
audience numbers and a spike in fame. When the seamlessly.
client, France 3, is up against the likes of Netflix,
to launch a new programme on a digital platform
is tough – this is ground-breaking, innovative and
Anyone who has ever been a judge and has had to
new, something we haven’t seen before.
cut the wheat from the chaff knows that it’s never
an easy task, but when you get the right people in
the room with the ability to recognise interesting
and never-before-seen work collectively you can
really spot the highly effective campaigns that are
a cut above the rest.
‘LA FORÊT - BET ON A MURDERER’ for FRANCE

TÉLÉVISIONS - FRANCE 3 by PUBLICIS CONSEIL, Paris
GOLD
‘BLACK SUPERMARKET’ for
CARREFOUR by MARCEL, Paris
22

Entertainment
“Brands and organisations
showing that ‘doing good’
leads to better business”
Louise Johnson
CEO, Fuse EMEA

We awarded the the TV Series, ‘La Forêt – Bet on Branded content for good
a Murderer’, which demonstrated brave work that The shortlisted entries stood out because they
embraced technology and created an emotional made the jury stand up and think differently.
reaction. Ultimately, it entertained the audience Entertainment and branded content ‘for good’
in a unique way and significantly impacted the was a particularly strong theme in 2018, with
show’s viewership and popularity. brands and organisations unapologetically showing
that ‘doing good’ leads to better business.
Audio content
It was great to see the audio content category
cutting through this year with top quality
submissions. Overall, the Entertainment category
showed us that brands continue to use this
medium as a powerful tool that resonates strongly
with an audience and captures people’s attention.

‘LA FORÊT - BET ON A MURDERER’ for FRANCE It’s very rare that you have a whole day to stop,
TÉLÉVISIONS - FRANCE 3 by PUBLICIS CONSEIL, turn the phone off and watch some of the best
Paris entertainment work of the year from across
Europe. Can I do it again please?
GOLD
‘NIKE ‘AWAKEN THE
PHANTOM’’ for
NIKE FOOTBALL by
WIEDEN+KENNEDY
AMSTERDAM
23

Film
“Less sell,
more seduction”
Kate Stanners
Chairwoman and Global Chief Creative Officer,
Saatchi & Saatchi

Our discussion centred around the innovative use Stor y telling over adver tising
of film versus classic storytelling. Ultimately, we In 2018, there were less obvious themes than
awarded an entry that we thought represented in previous years, though it would be fair to say
the power of film. that the classic ad construct seemed to have
fallen out of favour. We saw films that indulged in
We have so many options and media channels storytelling, with less obvious ‘advertising’ ideas.
available to us, but film is the one where we can Less sell, more seduction.
elicit real emotion – where we can create powerful
connections with the audience. The BBC animation You could see a newly subtle approach and our
is a perfect example of filmmaking. A story that Gold winners reflected this. We had the VW
unfolds, that allows us to really connect with the campaign that was a classic idea, which smartly
characters and does so through perfect craft. articulated a real understanding of the brand and
what it stands for. ‘Baptism’, as a prequel ‘teaser’
to the game, was also a powerful film – brilliantly
directed, acted and scripted. And the innovation
around ‘La Forêt’ was fantastic – a great way to
get you to see film differently.
Micro-formats and smart uses of space

We wanted to recognise early-adopters of micro-
formats, as well as smart use of specific space
– like ‘Mondelez’ and, again, ‘La Forêt’. We also
wanted to acknowledge the smart way brands that
like IKEA and Diesel wove product into brilliant
‘THE SUPPORTING ACT’ for BBC by BBC CREATIVE, stories with a strong social message.
London
We debated honestly and openly and there were
brilliantly conflicting opinions on a lot of work.
We debated long and hard around longer formats.
Were they just self-indulgent? Would they have
been sharper with the discipline of a shorter time
length? And, as is so wonderful with a diverse
GOLD GOLD European jury, we discussed local relevance as a
‘THE BAPTISM’ for ’KID’S DREAMS’ hugely important factor.
UBISOFT by DDB for VOLKSWAGEN
PARIS AG by GRABARZ &
PARTNER, Hamburg 24

Film Craft
“It simply blew us away
emotionally by its perfection”
Sandrine Huijgen Le Goff
Creative Partner, Cloudfactory,
The Netherlands

‘Hope’ won because it simply blew us away Great craft in the ser vice of good
emotionally by its perfection. The simplicity of the We saw this in many entries – for NGOs of course,
idea was enhanced by the craft behind it. Direction, but we also saw brands producing amazing pieces
but also casting, cinematography, editing, sound of craft. Diesel, for example, shared a positive
design all contributed to its overall effect. It stood social message with ‘Hate Couture’, as did Velux
out in the end for its emotional impact and for (on healthier living) and Volvo (on car-sharing and
the way that it used craft in the service of good – the environment).
which is something we all aspire to.
Specific disciplines
We also saw brilliant crafted pieces that had been
carried out by one very specific discipline –such
as sound design for ‘JFK Unsilenced’, or hand-
crafted animation in ‘World Cup’, or even the
spoof of Lidl with the handmade production and
sound design.
‘HOPE’ for ICRC by BLUR FILMS, Madrid
GOLD GOLD
‘PRIDE IN LONDON - ‘IT’S OK’ for OAKLEY by
SOMEWHERE OVER THE WANDA PRODUCTIONS,
RAINBOW’ for LGBT+ Paris
COMMUNITY by BMB,
London
25

Glass: The Award For Change
“This was advertising a
mainstream product in a way
that it had never been done
before”
Kate Stanners
Saatchi & Saatchi

This was advertising a mainstream product in a Beyond campaigns
way that it had never been done before. Brilliantly The beauty of a category that is defined by the
done, with fantastic craft across every channel. agenda of the work as opposed to the format, is
This was a no brainer for the jury. that the creativity used is so diverse. In its own
way, that is a theme for Glass. From tweets to
influencers, we saw every channel and format
used and even some that have never been used
before. The work that we see awarded in Glass
comes from a campaigning mentality, but really
these are not campaigns.

A jury from different countries, disciplines and
with different experiences brought their diverse
perspectives to the judging room. This year’s
‘#BLOODNORMAL’ for LIBRESSE/ BODYFORM Glass jury was a wonderful group of people whose
(ESSITY) by KETCHUM, London defining characteristic was their ability was to
listen.
GLASS AWARD GLASS AWARD

‘HIGHLIGHT THE ‘#UNWANTED’ for
REMARKABLE’ NGO WOMANS
for STABILO RIGHT CENTER
INTERNATIONAL by McCANN
GMBH by DDB BELGRADE
DÜSSELDORF
26

Grand Prix for Good
“Work in this category has
the overarching power to be
heartfelt – to evoke emotion
and therefore enact change”
Laurence Thompson

Women’s Right Center, NGO in Montenegro, Evoking emotion and enacting change
dedicated to the promotion of women’s rights I love this category of Grand Prix for Good. It
and gender equality, kicked off a campaign called is a powerful platform where brands, NGOs
‘#Unwanted’, to confront traditional society, and agencies can all flex to affect real-world
influence a change of legislature and prevent the change and have lasting societal impact for the
abuse of genetic prenatal tests that are causing better. Work in this category has the overarching
sex-selective abortions. power to be heartfelt – to evoke emotion and
therefore enact change. Something which I’m a
huge advocate of. So, this begs the question –
with all the scope at our disposal to make great,
impactful, meaningful and emotive work, why
aren’t we doing more of it?

It’s this key insight that we as a jury focused
on when reviewing the work. We considered
every component – asking ourselves the pivotal
question: “Was each one additive?”. If they didn’t
‘#UNWANTED’ for NGO WOMANS RIGHT CENTER all hang together in an interdependent but still
by McCANN BELGRADE cohesive way, then it’s not true integration.
27

Healthcare
“What’s great about these types of
ideas, is that they don’t have to
follow the normal route to market, be
traditional or even be a campaign.”
Tom Richards
Chief Creative Officer, Havas Lynx Europe

‘Black Supermarket’ for Carrefour was a well- Problem solving
deserved and unanimous Grand Prix in our This year, problem-solving was a massive trend:
Healthcare jury room. Today, brands must take zoning in on a specific issue and finding the best
more social responsibility. And this campaign way to solve it. The end result should change
is a perfect example of a huge company using perceptions, behaviours and even laws. What’s
its weight and stature for change. The main great about these types of ideas, is that they
barrier to food quality was not the competitors don’t have to follow the normal route to market,
or consumers’ behaviour, it was the law. And be traditional or even be a campaign. ‘Autism Can
Carrefour broke the law to change it, risking Work’ and ‘Black Supermarket’ typified this and
massive fines and negative publicity. As a result, were worthy winners.
they shifted perception of the brand. It takes a
brave client to create great work and trust its
agency to deliver, and this was a perfect example.
Aiming for simplicity
Some great uses of technology were apparent,
too. But it’s not just about using technology
for the sake of it. It’s about simplification and
seamlessly fitting into people’s lives. For example,
Google’s ‘Dot’ is a beautifully simple hand-held
device that truly empowers blind people. ‘Voice of
Voices’ for ALS also got our tongues wagging.

It was a massive honour to be President of
Healthcare this year – a position of responsibility
that I took hugely seriously. The experience will
‘BLACK SUPERMARKET for CARREFOUR by MARCEL, Paris stay with me.
The chemistry in the room on judging day was

infectious and the energy electric. My fellow
jurors had some intelligent insights and different
approaches to validate the work we viewed, which
led to some lively debate. But when it came to
awarding the Grand Prix, we were all completely
GOLD GOLD aligned and unanimous in our decision to award
‘DOT MINI’ for DOT ‘WAR CORRESPONDENTS ‘The Black Supermarket’.
INC. by SERVICEPLAN ON BREAST CANCER’
GERMANY, Munich for SAMSUNG by CHEIL
WORLDWIDE, Madrid 28

Innovation
“The whole Dot system will open up
a world of real-time communication
to the blind community”
Tracey Follows
Founder, Futuremade

We awarded ‘Dot’ because it was clear that Innovation that goes beyond a
the idea was truly innovative – creating not
campaign
only new hardware for the blind community
We saw lots of one-off experiments, or early
to use, but a new software approach too. The
stage technology innovation. Agencies are trying
innovation roadmap taking Dot to 2022 and
new ideas and testing new technologies but they
beyond demonstrated a variety of applications:
clearly need more ongoing support from clients in
from watches and books to airports and vending
order to take the learnings forward and improve
machines. The whole Dot system will open up a
over time.
world of real-time communication to the blind
community, a world that had until now been
It was evident that there is more work to do to
relatively inaccessible.
ensure that brands understand innovation not
as a one-off campaign or initiative, but a longer
ongoing process that requires nurturing and
development over time.
‘MAKING THE WORLD ACCESSIBLE, DOT BY DOT. for

DOT INC. by SERVICEPLAN GERMANY, Munich
INNOVATION AWARD INNOVATION AWARD

‘TOUCHING MASTER- ‘BLOCK WISH’ for S
PIECES’ for NEURODIGITAL GROUP by S-GROUP,
by GEOMETRY GLOBAL, Helsinki
Prague
29

Integrated
“If they didn’t all hang
together in an interdependent
but still cohesive way, then it’s
not true integration”
Laurence Thompson

This year’s much-deserved winner demonstrated Seamless customer experiences
a great understanding of mixed channels, These days, the best modern integrated
displaying use of faceted components that flexed campaigns are the ones that have evolved into
and changed, but that served together to enhance a considered shape and feel. No longer the
the whole. It hung together beautifully and is an purview of multiple media buys, it’s now not
excellent example of world-class integrated work. about ‘matching luggage’, it’s all about a seamless
experience and engaging customer journey.

It’s this key insight that we as a jury focused
on when reviewing the work. We considered
every component – asking ourselves the pivotal
question: “Was each one additive?”. If they didn’t
all hang together in an interdependent but still
cohesive way, then it’s not true integration.
‘#BLOODNORMAL’ for LIBRESSE/ BODYFORM

(ESSITY) by KETCHUM, London
GOLD
‘BIHOR COUTURE’
for BEAU MONDE by
McCANN BUCHAREST
30

Media
“The entries that ultimately
won brought together old and
new, creative and data to create
something that really resonated”
Dan Hagen
Global Chief Strategy Officer, iProspect

This year’s Grand Prix winner was ultimately Use of media to elevate a core idea
selected because of the insight shown into their The question, “Is it media?” cropped up many
customers. This allowed them to swerve outside times during this year’s process. Ultimately,
of the category norm and create something truly we were looking for work where media made
emotive within a very rational category. a difference to the outcome. How did media
make an amazingly emotive piece of content
better; travel further; make more impact? DNB’s
campaign to create a fourth emergency number
for Norway’s pets allowed them to not only reach,
but genuinely engage their audience (and indeed
their audience’s pets). Their use of multiple
channels and platforms wrapped around the core
campaign idea drove huge value for the brand
and business. They also went the extra mile and
managed to coordinate over 450 vets under one
emergency number.
‘THE ANIMALS’ OWN EMERGENCY NUMBER’ for
DNB by TRY, Oslo Creativity & data
Content, social and data continue to grow,
but the entries that ultimately won brought
together old and new, creative and data to create
something that really resonated with the audience
and drove real value for the brand and business.

GOLD GOLD Inside the jury room, it’s just you, the work and
‘OOPS’ for 02 by ’RAMMED WITH a room full of smart people to talk about it with.
HAVAS MEDIA, CONFIDENCE’ for Passion, disagreement, jealousy (“I wish I’d done
London VOLKSWAGEN UK it!”), humour, mutual respect and many other
by PHD, London emotions fly around the room. In the midst of
it, the best work starts to bubble up to surface.
Pointed conversations getting right to the heart
of challenges within each piece of work meant
we had some good debates, and ended up with
winning campaigns we would have all been proud
to be responsible for.
31

Mobile
“It’s the type of work that
goes beyond a big idea and
becomes about big impact”
Wesley ter Haar
Founder / Chief Operating Officer,
MediaMonks

The Grand Prix winner didn’t just define how AR, VR & MR adoption
people acted and reacted in retail, it changed Mobile isn’t a device as much as it’s a way of
the way a company operated their business and interacting with the world, or a way that the world
thought about their customers. It’s the type of can interact with us. We saw this in the raft of
work that goes beyond a big idea and becomes work that can be broadly typified as AR/VR/MR
about big impact as it rides the wave of changing or the mix of physical and digital devices we had
user behaviours and expectations. at our disposal. In the end, the jury looks for work
that defines best-in-class – a bar to jump for
years to come.
It was good to see the conversations around new

technology ask the key question: is it a gimmick,
or is it key to the idea and quality of the work? It’s
easy to be swayed by shiny stuff, but this jury kept
coming back to the core questions and it shows in
the work they awarded.

‘BLOCK WISH’ for S GROUP by S-GROUP, Helsinki Our smart and opinionated jury members were
open to having their minds changed through insight
and information from others, but not afraid to
stand their ground for the work they believed in.
32

Outdoor
“At urobest 2018, traditional outdoor
was anything but traditional”
Alan Kelly
Executive Creative Director,
Rothco Ireland

All of us on the jury were so jealous of this Physical meets vir tual
campaign. It literally blew our collective minds. It This year, we saw so many great things in our
started pitch-side – by translating the moves of dark jury room in London. We saw interactive
players on the pitch to the players in the game – billboards that were in fact physical shortcuts
all in real-time. around a city. We saw 80-foot Portuguese waves
brought to life in Times Square. We saw creativity
beating far-right vandalism and ignorance with the
unbreakable rainbow. We discovered that tech
can’t be implemented for tech’s sake – it needs to
tie into a brand’s values or benefits.
Outdoor redefinitions
We saw the manipulation of classic art in
#bodycantwait. We saw truly beautiful re-
imaginings of what the category means, with
outdoor being redefined as a pair of glasses that
‘FOOTBALL DECODED’ for MICROSOFT by McCANN prevent car sickness in one particularly notable
LONDON entry. At eurobest 2018, traditional outdoor was
anything but traditional.
GOLD GOLD
‘GO WITH THE ’#BODYCANTWAIT’
FAKE’ for DIESEL for HANDICAP
by PUBLICIS ITALY, INTERNATIONAL by
Milan HEREZIE, Paris
33

PR
“Brands are making sure that
the audience feel something
for them and this is now a
business imperative.”
Mattias Ronge
Creative Strategist, Edelman Deportivo London

In strong competition, our Grand Prix really stood Cultural relevance
out. It addressed a specific problem – that no This year’s winners showed that when an idea has
nation takes responsibility over this country sized an earned core, it can take the brand anywhere,
area of plastic – and provided a specific, earned-at- using any channels to get there. Looking at
core solution. The whole idea was not only designed the awarded work, I would say that an earned,
to start conversation, but also to prompt action. culturally relevant approach is taking the lead.
Business imperative: building socially

conscious brands
Lots of the best pieces of work were both selling
products and building brands, while taking a
stand in society. Two thirds of the population now
consider themselves to be belief-driven buyers.
Brands are making sure that the audience feel
something for them and this is now a business
imperative. The work showed how we, as
marketers, are reacting to the world we live in.
‘TRASH ISLES’ for LADBIBLE/THE PLASTIC OCEANS
FOUNDATION by AMVBBDO, London
Everyone in the room came from different

countries, backgrounds and roles and we very
quickly turned those differences into an asset.
Each piece of work was looked upon and
discussed through the lens of our different
perspectives and the chemistry in the room was
GOLD GOLD
amazing. I am proud of the immense respect we
‘REPICTURING ‘THE PHOTOGRAPHY
showed every piece of work, knowing how much
HOMELESS’ for GETTY BAN’ for GRAUBÜNDEN
work had gone into each and every one of these
IMAGES AND FIFTYFIFTY TOURISM by JUNG VON
entries. We were thorough and left no work
by HAVAS DÜSSELDORF MATT/LIMMAT, Zürich
behind – but we also didn’t award work lightly.
34

Print & Outdoor Craft
“Brands are finding their
position within society and
using parts of history combined
with new technologies.”
Katrin Oeding
Chief Creative Officer & Creative Director,
Studio Oeding Germany

It’s simple and intelligent, with a deeper meaning. Playing with icons
It highlighted something that the product itself This year, we noticed brands focusing on or
does. That is the best branding. manipulating a logo and brands playing with
icons – which we can see in campaigns like
‘Amber Cube’, ‘Hitler Hashtag’ and Diesel’s ‘Hate
Couture’.
Technolog y translates histor y

We also noticed brands finding their position and
voice in society, using parts of our shared history
combined with new technologies to speak to
something universal – as we saw with Bauhaus,
Stabilo and in ‘JFK Unsilenced’.
‘THE REMARKABLE’ Campaign for STABILO by DDB Inside the jur y room
DÜSSELDORF I enjoyed discussions with different views,
cultures and experiences brought to the table.
Everyone entered the judgement period and the
intense conversation with passion.
GOLD
‘ONE POSTER FOR
PEACE’ for INTER-
RELIGIOUS COUNCIL
IN BOSNIA AND
HERZEGOVINA by NEW
MOMENT NEW IDEAS
COMPANY, Belgrade
35

Print & Publishing
“The rise of innovation in
publishing points towards an
interesting future”
Kate Stanners
Saatchi & Saatchi

This is a classic print ad, executed to perfection Impor tance of context
– Stabilo’s progressive ‘Highlight the Remarkable’ We talked a lot about how the placement of the
married layout, writing and art direction with a campaigns added to the messaging. There was a
powerful idea. sense that the use of print is becoming rare – but
when used effectively, can really pack a punch.

Innovation in publishing
The rise of innovation in publishing points towards
an interesting future – one with work that is very
personalised, tactile and specific.

We talked a lot about the importance of beautiful
craft and its power it to attract the eye. We loved
some of the invention that we saw in this category
‘THE REMARKABLE’ Campaign for STABILO by DDB and delighted in the work that managed to marry
DÜSSELDORF craft, idea and context. Ultimately, when it came
to awarding our Gold and Grand Prix, we were
brutal in our search for perfection.
GOLD
‘FRESH PRINTS’ for ALDI
by McCANN SPAIN,
MADRID
36

Radio & Audio
“Radio as a category was the
comeback kid of 2018.”
Alan Kelly
Executive Creative Director,
Rothco Ireland

It could have been an award-winning idea on Radio – the comeback kid
its own, even without the lengths they went Radio as a category was the comeback kid of
to in terms of perfecting the execution. They 2018. It was great to see an old dusty traditional
went the extra step and spent the time and media being re-imagined by some brilliant minds.
money on perfecting the sound design – even This year’s eurobest winners will inspire creatives
the background noise of each word – which was across Europe to re-examine this reborn medium
appreciated by the jury and elevated the already with renewed excitement and ambition.
powerful idea to Grand Prix level. It brought the
impossible to life at a relevant time in history.
Audio channel-hacking
In use of tech and data in radio and audio, we
heard great ideas featuring Alexa, JFK and a pen
that allowed you to listen to a football match
whilst sitting in a boring meeting. ‘The Distress
Signal’ bravely hacked a disused FM signal in
Norway to send an important message around the
world. And ‘JFK Unsilenced’ made the impossible,
possible.

Come spend a week in a dark room in rainy
‘JFK UNSILENCED’ for THE TIMES/NEWS UK & London to judge some traditional advertising
IRELAND by ROTHCO | ACCENTURE INTERACTIVE, categories with a bunch of strangers they said.
Dublin Well, what a week. The dark room turned out to
be really quite bright. The rain turned out to be
more of a light fog. The bunch of strangers turned
out to be the nicest and most thought-provoking
people you could hope to be stuck in a room with.
37
THEMES & TRENDS

Themes & Trends
eurobest 2018 brought insights that go well We also saw brands and agencies harnessing
beyond industry trends. With many entrants technology and data in newly beautiful, creative
striving for something more than creative ways. And our winners were those who managed
messaging, this year we saw work from across to move away from technology for technology’s
Europe both responding and contributing to the sake – with awarded work eschewing showy AI or
wider cultural setting. Progressive work with a VR for meaningful innovation and problem-solving.
powerful purpose was at the forefront across all Products and solutions addressed customer
categories and formats – with brands taking a needs: fitting seamlessly into people’s lives.
clear, and often defiant, stand on social issues.
eurobest awards Europe’s most exceptional ideas.
We saw subversions of traditional campaign These are the key themes and trends observed
formats, with many award-winners reacting to from across the most exceptional of this year’s
a crowded market by hacking channels to find ideas, with examples from the awarded work that
surprising new ways into their consumers’ hearts moved and inspired our eurobest juries in 2018.
and minds.
38
THEMES & TRENDS

Truth-telling: Making the
Invisible Visible
There’s power in the
creative use of tech and Doctors say that good
data to reveal truth, nutrition is the best preventive
uncover the unseen and healthcare. But Europe
empower hidden agents. regulates against products that
would be better for the health
In a world mired by fake news of consumers: organic varieties.
and culture wars, we yearn ‘Blind Meters’ | GOLD, Creative Carrefour decided to change the
for core truths. This year, Data + 7 more awards law by defying it, and launched
we saw brands and agents | HAPPINESS BRUSSELS, AN FCB the Black Supermarket –
addressing this need by ALLIANCE, Brussels nationwide in-store installations
delivering important messages. selling illegal varieties of cereals,
Often, data, media and ‘How many meters are you vegetables, and fruits. They
technology were the methods of driving blind?’. BlindMeters.com, asked people to join the cause
communication – innovation in a first-of-its-kind platform that by buying the illegal products in
these areas brought the unseen gives everybody concrete insight stores and by signing a petition
to the forefront of our collective into how many metres they miss on Change.org.
consciousness. when texting and driving.
Awarded campaigns in 2018 BlindMeters.com is geo-located

also went beyond creative and turns Google Maps into
messaging, answering social a text editor, allowing you to
needs with practical and fiercely type on any road. A custom-
progressive solutions. And made font connects to the
with winning work backed up speed limitation data of the
by increased shares, footfall specific road you’re typing ‘The Animals’ Own Emergency
and sales, it turns out that on and stretches to the exact Number’ | GRAND PRIX, Media +
transparency and truth are good number of metres missed. In 3 more awards | TRY, Oslo
for business, too. a completely new way, people
were able to see the truly Nine out of ten Norwegians had
“Honesty shouldn’t be a trend. terrifying distance over which no idea what number to call if
It should be a standard. But they were putting their own, and their pet needed urgent help.
given the many scandals and their passengers’, lives at risk. DNB embarked on an ambitious
lack of transparency of the social responsibility project
recent years, it must necessarily to ensure that all animals get
be. Especially, with consumers the protection they deserve
becoming more aware of how and called out to establish
their choices affect the planet, the first national emergency
we should expect a shift in number for animals. The petition
focus. From story-telling to protocol was handed over to a
truth-telling.” representative from the Justice
‘Black Supermarket’ | GRAND Committee and the call for an
Laia Abellán Ponce de León PRIX, Healthcare | GRAND PRIX, official three-digit emergency
Executive Strategy Director, Brand Experience & Activation, number for animals is as of now
DDB Berlin GRAND PRIX Healthcare + 6 under discussion at the Justice
more awards | MARCEL, Paris Committee.
39
THEMES & TRENDS

Fashion: Luxury Breaks Out of
the Traditional High Gloss Mould
Luxury fashion brands are
now harnessing the power
of shared experiences,
social purpose and
community to engage with
millennials and Generation Z.
Loyalty and brand affinity in the ‘Go with the Fake, Diesel’ | GOLD ‘Save our Species, Lacoste’
luxury market are now cultivated Brand Experience & Activation | GOLD Brand Experience &
by brands embracing inclusivity, + 7 more awards | Publicis Italy, Activation + 3 more awards |
diversity and collaboration. Milan BETC Paris
The need to engage with the
next generation of consumers Diesel confronted counterfeit Daring to radically change one
has forced fashion to rethink culture with an authentic brand of the most iconic fashion logos,
its ideals – where ‘exclusive experience that resonated and the Lacoste crocodile made way
and aspirational’ were once reinvigorated the brand, re- for ten threatened animals in
key, ‘authentic, purposeful and establishing it as the icon of a collection of limited edition
community-focused’ are the brave and subversive fashion. polo shirts corresponding to
new purchase drivers. the number of animals known to
exist in the wild.
Winning campaigns saw brands
expressing their values and
points of view, giving consumers
something to identify with.
Ultimately, fashion brands
that sought to progress social
purpose achieved stronger ‘Diesel Hate Couture, Diesel’ |
brand positioning and better GOLD Film Craft + 1 more award
business results. Purpose | Sizzer Amsterdam
prompts purchase.
Diesel took a stand against
“What we’ve seen the past online abuse by casting
year is exciting – work coming polarising celebrities and
out with a provocative and influencers wearing the worst
‘wrong’ way of thinking. It comments they have ever
becomes extra effective when received. Turning hate on its
a campaign moves around in a head and overturning fashion
place where it’s expected to conventions, this brought to life
be about glossiness. Those who the tagline, “The more hate you
succeed have balanced edge wear, the less you care”.
and relevance.”
Johan Bello
Founder at ACNE
40
THEMES & TRENDS

Art: Reinvigorating the Classics
Exceptional creative
executions are reinventing
historical ideas and icons.
In 2018, campaigns connected

to the current cultural moment
by looking backwards. We
saw work revisiting historical ‘The Lost Typography of ‘#BODYCANTWAIT’, Handicap
artistic and aesthetic traditions Bauhaus’, Adobe | GOLD, PR + International| GOLD + 2 more
– referencing, manipulating + 4 more awards | Abby Priest, awards | Herezie, Paris
or incorporating established Stockholm
masterpieces and styles. 3D printed prosthetic limbs
Adobe Typekit turned were fitted onto ancient
Awarded campaigns made use of incomplete typographical statues around Paris, including
visuals or icons from history to sketches from the Bauhaus the Venus de Milo, to raise
achieve an instant understanding archives into five complete awareness of the lengthy waiting
with their audience. It’s this typefaces, giving a new time for prosthetics and directly
moment of recognition that generation of designers and represent this to the public.
opens up an opportunity for a creative professionals the
brand to subvert and celebrate chance to experiment with
classic art, creating memorable iconic art that would otherwise
cultural experiences. have been lost forever.
“The work this year has been

ambitious and focused on
craft. Excellent print ads:
challenging and refreshing what
an old medium could be without
feeling old. Feature film: when
classic Hollywood film making
gets applied to gaming, or when ‘Museum of Romanticism’, IKEA
car ads end up in the 90’s …. | BRONZE, Outdoor + 1 more
honouring old masters in a new award | McCann Spain, Madrid
and unexpected way.”
IKEA challenged and changed
Johan Bello
brand perceptions by placing
Founder at ACNE
furniture in an 18th century
living room and challenging
visitors to differentiate
the new from the antique.
By demonstrating that
IKEA products can fit in
with a historic aesthetic,
this experience sparked
conversations and increased
purchasing consideration.
41
THEMES & TRENDS

Product: Storytelling and
Problem-solving
Brands are increasingly
creating products that
solve problems for
consumers.
This year, we saw disruptive,

non-traditional work reflecting
the expanding role played by the ‘Bordeaux 2050’, AJE | SILVER, ‘Tradesman’s Suncream’,
creative industry. From motion Direct + 6 more awards | Wickes | BRONZE Healthcare
sickness to global warming, McCann Paris | Iris London
many awarded campaigns
showed brands listening, The French Association of Home improvement brand
and then speaking, to their Journalists for the Environment Wickes wasn’t losing ‘trade’
customers with new products needed to make global warming customers to a competitor,
and innovations that addressed more than just another news but skin cancer. This was a
very real problems. headline. By using forecasting product solution rooted in a
data and grapes already growing strong insight. the Tradesman’s
With strong supporting insight in extreme conditions, the Suncream positioned the
at the core of innovative Bordeaux 2050 wine made the brand from home improvement
products, these real-world consequences of climate change to health improvement and
solutions are often a form of tangible and relatable. enabled Wickes to connect
strategic storytelling. They with a hard-to-reach audience
represent brand voice in a where previously, conventional
tangible way, emphasising a true marketing had failed.
understanding of the needs of
the customer.
“In a world of dynamic

creative and programmatic, ‘Seetroen’, Citroën | SILVER,
understanding the relevance of Outdoor | BETC Paris
the context in its totality is one
of the last miles towards a total Citroën developed glasses
end-to-end consistent brand that cure motion sickness
experience. Expect more stories as a solution for everyday
that bring the brand’s narrative discomfort. This marks an
into a physical world – often evolution for the brand from
coupled with channel hacking or sales orientated communication
business model hacking.” to making use of innovation
to enter into a dialogue with
Laia Abellán Ponce de León, consumers and reach a wider
Executive Strategy Director, audience.
DDB Berlin
42
THEMES & TRENDS

Channel Hacking:
Innovative Medium Manipulation
Disruption has evolved Madrid. While other brands just
into channel hacking, with perimeter boards as a space
brands manipulating and for branding, Xbox were not
subverting the traditional just selling FIFA 18, but making
campaign medium. people better at it.
To truly infiltrate culture now

requires thinking outside of ‘La Forêt – Bet on a Murderer’,
traditional channels. Cleverly France Télévisions – France 3
utilising new platforms to speak | GRAND PRIX, Entertainment,
to their audience, awarded work GRAND PRIX, Direct + 10 more
this year subverted the idea of awards | Publicis Conseil, Paris
the ‘campaign’ by appearing in
‘The Distress Signal’, Amnesty
totally unexpected places and In partnership with betting
International | BRONZE Radio &
formats. platform Winamax, TV channel
Audio + 3 more awards | Anorak,
France 3 gave viewers the
Oslo
Often supported by a creative opportunity to literally bet in
use of data and audience real time on the identity of the
By playing a phone call on loop
insight, this trend has led to murderer in new crime drama La
for nine days on the shutdown
increased engagement and Forêt. It transformed watching
FM radio network, this campaign
brand recognition for many of TV from a passive activity into
hacked both a medium and a
its adopters. an immersive and interactive
major news story. As Norway’s
shared experience.
FM radio network was turned
“Our world is accelerating. With
off, Amnesty International
more and more channels, more
made the first emergency
connectivity and more choices,
‘distress signal’ broadcast since
brands need to find ways to
the second world war. With
fight consumer’s reflex to swipe
the attention of the national
left on commercial messages.
media, the campaign took this
And, for sure, tech-hacking will
further by making it possible for
continue to be a key source for
anyone to boost the signal by
creativity in the incoming years.” ‘Football Decoded’, Microsoft |
simultaneously live streaming
GRAND PRIX OUTDOOR + 7 more
the broadcast on social media.
Laia Abellán Ponce de León awards | McCann London
Executive Strategy Director,
DDB Berlin XBox’s competitor had bought
all the marketing rights to the
FIFA 18 game, so the brand
partnered with Real Madrid to
sponsor the digital perimeter
boards. Rather than advertising
the game, the boards translated
the football matches into
corresponding commands for
FIFA 18 on Xbox, teaching the
audience how to play like Real
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Methodology
Part A – General Terms And Conditions
That Apply To All Awards
General
1. By entering the Festival, Entrants agree to be bound, and abide, by the Rules. We may vary the Rules from time to time, in
which case the variation will take effect from the date of publication of the new Rules on our website: https://www.eurobest.
com. We have absolute discretion to determine the application of the Rules or to resolve any ambiguity in them as we see fit.
2. We may at any time refuse or withdraw Entries which, in our reasonable opinion:
2.1. breach applicable laws, regulations or industry recognised codes of practice;
2.2. offend national sentiments, religious sentiments or public taste;
2.3. do not meet the eligibility requirements set out in clause 5 of Part A of these Rules; or
2.4. in any other way conflict with the Rules or the spirit of the Guiding Principles.
3. Ascential is part of the Ascential Group, which pledges to trade legally and respect all laws including the trade sanctions
imposed by EU and US Governments. We operate under a Group Sanctions Policy which means that we cannot accept
Entries from people or Entries in relation to projects based in, residing in or connected with a country subject to EU and/or
US government sanctions.
4. In these Rules, words and expressions shall have their ordinary meaning unless otherwise defined in the Glossary.
Eligibility requirements
5. Each Entry must satisfy the following requirements:
5.1. The Entry has aired, launched or been released to the public for the first time between 1 September 2017
and 31 October 2018 (the “Eligibility Period”) or:
5.1.1. if a Campaign began before the Eligibility Period, a minimum of two thirds falls within the Eligibility Period;
5.1.2. if you are entering a Campaign that has run over two or more years, you are able to prove the Campaign’s
evolution from year to year (we have the right to decide if the Entry has evolved sufficiently and can be deemed as
a new, eligible Entry);
5.1.3. if you are entering a Campaign of Executions (e.g. for Print & Publishing, Outdoor, Film, Film Craft, Print & Poster
Craft, and Radio & Audio Entries), the whole Campaign falls within the Eligibility Period;
5.1.4. if you are showcasing a continuation of a Campaign that aired before the Eligibility Period then you can clearly
show how the Campaign has progressed (we have the right to decide if the Entry has progressed sufficiently and
can be deemed as a new, eligible Entry).
5.2. The Entry has been created within the context of a normal paying contract and genuine brief from a Client OR if
it’s a case of self-promotion or a non-profit organisation, the Client has approved all of the media/production/
implementation;
5.3. You have permission to enter the Entry from the commissioning Client/brand-owning company;
5.4. You have included the Client contact details in the Entry including name, position and full contact details;
5.5. The Entry has been submitted exactly as published/aired/released and has not been modified for entry into the
Festival;
5.6. The Entry is not speculative or conceptual advertising, and has not been banned or withdrawn from airing;
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ME THODOLOGY

5.7. The Entry does not relate to a product which is a prototype/not commercially available (save where otherwise stated in
the relevant Additional Requirements e.g. for Innovation);
5.8. A senior officer (CD, CEO or Chairman) from your company has given permission for this work to be entered;
5.9. The Entry was not entered into the same eurobest Award last year (the same piece of work cannot be submitted for the
same eurobest Award in consecutive years but, providing the Entry meets the relevant eligibility requirements, including
the Eligibility Period requirements, you may enter the work into an alternative eurobest Award);
5.10. There is no reference to your company or any contributing creative companies in any digital or physical materials
(except in the case of self-promotion);
5.11. All supporting case films and materials are correct and final versions (these cannot be changed once your Entry has
been submitted);
5.12. The work, and/or case film can be understood in English. For further details see Entry Kit 1;
5.13. The Entrant is not based in, residing in or connected with a country subject to EU and/or US government sanctions;
5.14. The Entry is not in relation to a project based in, residing in or connected with a country subject to EU and/or US
government sanctions;
5.15. The Entry is not a Scam Entry (as explained below);
5.16. It meets any relevant Additional Requirements;
5.17. The Entry was designed specifically for and to run in the European Region and was created by a Company in the
European* region.
5.18. - The Entry was designed specifically for and to run in the European Region and was created by a Company outside the
European Region.
5.19. - The Entry was designed to run globally as long as it was created by a Company in the European Region.
6. If new results are collected after the entry has been paid for, we will only accept additional written information in the results
section of the entry form up to 02 November 2018.
Guiding Principles
7. The Guiding Principles indicate the spirit in which the Rules will be interpreted and in which they will be applied. Where
Ascential determines that any Entrant has not behaved in accordance with the Guiding Principles, we may direct the Entrant
to modify or remedy its behaviour (even where such behaviour is not an express breach of any particular rule), and any failure
by that Entrant to modify or remedy its behaviour may lead to disqualification.
8. The Guiding Principles are as follows:
8.1. Fairness and Integrity. Entrants and Ascential must act fairly in their application of the Rules, without seeking to exploit
the Rules to the unfair advantage, or disadvantage, of any given Entrant. Entrants must not undertake any activities
which would bring the fairness of the Awards or Special Awards into disrepute (including by collusion with any other
Company for the maximisation of points).
8.2. Transparency and Accuracy. Entrants and Ascential should provide information to each other in a full, frank, and open
manner, to maintain the transparency and accuracy of the Awards and the Special Awards.
8.3. Ownership and Responsibility. Representatives have a special role to play in ensuring the accuracy of information
provided by Entrants for the calculation of the Special Awards. Representatives must take full ownership of, and
responsibility for, submitting only that information which they believe is accurate, and will be required to sign a
Declaration Form accordingly.
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ME THODOLOGY

8.4. Good Faith and Co-Operation. Ascential will carry out the administration of the Special Awards in accordance with the
Rules, using its discretion where necessary and in good faith, and relying on the information it receives from Companies
and/or their Representatives. In turn, all Entrants and Representatives should cooperate in good faith with Ascential,
including by providing information, and providing the necessary declarations, by the deadlines set in the Rules.
Scam Entries
9. The Festival represents the best in creative vision and achievement and we continually strive to protect the spirit and purity
of the Awards. The issue of scam work is an important one which we take very seriously. The role of the Festival is to set the
benchmark for creativity in communications, to celebrate creativity and to reward outstanding creative work. The best way to
prove that creativity is a force for business, for change and for good in the world is to ensure that scam work is removed from
the Festival. Where we consider that an Entry is a scam (a “Scam Entry”) we may withdraw the Scam Entry or remove the
Entrant’s Award or Special Award (as applicable).
Conduct
10. Entrants should not: (a) bring the Festival into disrepute; or (b) do anything which could be prejudicial to the image and/
or reputation of the Festival or the Awards. Where we consider that an Entrant has not complied with this clause, we may
withdraw their Entry or remove their Award or Special Award (as applicable).
Checks and requests for further information
11. We reserve the right to request additional information about your Entry, including for the purposes of verifying its eligibility
or authenticity. For example, we may ask for media scheduling details, Client confirmation in writing or any other further
information we need to verify the authenticity of your Entry. If you do not provide us with the requested information or if we
determine that you have not provided us with adequate information, we may withdraw your Entry, Award or Special Award (as
applicable).
12. We also reserve the right to carry out our own checks to make sure that the information you have provided about your Entry
is correct, including but not limited to checking that: (i) your purported Client is legitimate; and (ii) that the product featured
in the Entry corresponds with your Client’s portfolio.
Effect of Non-Compliance with the Rules
13. We shall have the right to determine whether the Rules have been complied with. If we find that you have potentially
breached the Rules, we will invite you to explain, including explaining any mitigating facts or circumstances. If we find that the
Rules have been breached, we shall have the right to disqualify the relevant Entry and/or impose any other penalty specified
in these Rules.
14. Where we deem that an Entrant has deliberately and knowingly contravened the Rules (including by entering an ineligible or
Scam Entry), we may ban any or all of those individuals named on the relevant Entry’s credit list from entering the Festival.
Ascential will determine the appropriate length and nature of the ban based on the seriousness of the case involved. Not all
situations are the same and each case will be dealt with on its own merits.
15. Our decisions in all matters relating to the Festival shall be final and binding.
Intellectual Property Rights: Treatment, Use and Publication of Entries
16. By submitting your Entry, you confirm that you have all the relevant rights and consents required to allow us, and any parties
associated with us, to use your Entry as set out in these Rules.
17. When you submit an Entry, you warrant to us that you are doing so in full compliance with all intellectual property rights
which subsist in the Entry, including as follows:
17.1. you have the legal right to submit the Entry into the Festival; and
17.2. the exercise of the Festival Purposes by us or our authorised representatives shall not infringe the rights of any third
party, nor breach any applicable laws.
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ME THODOLOGY

18. By submitting their Entry, and in return for us agreeing to consider their Entry for an Award, Entrants give us the right to use
their Entry Materials in accordance with the Rules, including for the Festival Purposes.
19. To the extent that you are not the owner of the Entry Materials, you agree to use commercially reasonable endeavours
to ensure that we may exercise the Festival Purposes without Restriction. In this context, using commercially reasonable
endeavours includes trying to get any relevant third parties (e.g. third-party rights holders) to agree to allow us to exercise
the Festival Purposes. It does not include having to retrospectively amend or agree new terms of engagement for any
Entry already commissioned. Nor does it require you to spend any money to get permission for us to exercise the Festival
Purposes.
20. The “Festival Purposes” which we may, but are not obliged to, carry out are as follows:
20.1. Screening or publishing Entry Materials with or without charge at public or private presentations, in such manner and
form as we reasonably think fit;
20.2. reproducing Entry Materials in ‘The eurobest Winners Site’ (and any future iterations of The eurobest Winners Site) and
offline;
20.3. Permitting third parties to use Entry Materials, directly or indirectly, to promote the Festival; and
20.4. Reproducing any Entry in a collection of advertisements which may be offered for sale anywhere in the world, including
in the Cannes Lions Archive (and any future iterations of the Cannes Lions Archive including The Work). Such a
collection may not, nor may any extracts of it, be copied, marketed or sold by a third party other than Ascential or any
organisation authorised to do so by us. This may include adaptation/translation by a third party.
21. The Festival Purposes set out above shall not include any action that may violate:
21.1. any applicable law; or
21.2. any restriction placed on the use of the Entry by its legal owner, a permitted licensee or a third party whose property is
included in the Entry Materials, where you have notified us of such restriction;
(each of (a) and (b) being a “Restriction”).
22. You must notify us in writing (including by e-mail) of any Restriction as soon as reasonably possible on becoming aware of it.
23. You must immediately inform us if you become aware that an unauthorised collection or compilation including your Entry is
available for sale or distribution.
24. If any legal action is started against us in relation to your Entry then, without prejudice to any other rights or remedies
available to us, you shall promptly assist us in dealing with the claim (including, without limitation, by providing all
documentation establishing ownership of rights in the Entry at our request).
Data protection
25. We will use any personal data included in your Entry Materials to process your Entry, contact you about enquiries, to further
the Festival Purposes and to announce and promote winners. Further details can be found in our privacy policy on our
website, which can be found here.
Administration of the Festival

26. We have absolute discretion to change the Category or Section that an Entry is entered in to at any time (including, but
without limitation, where we believe that such changes are necessary to ensure that all Entries are showcased in their best
light). We will inform Entrants if we make any changes to their Categories or Sections.
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Complaints Procedure
27. If there is a complaint about any Award-winning or shortlisted Entry or the award of a Special Award we may, at our
discretion, choose to investigate the complaint. If we choose to investigate a complaint, you must cooperate fully with us in
relation to that investigation, including by providing us with any information we request from you.
28. If we uphold a complaint and find that the winning or shortlisting of any Entry was unfair or incorrect, we may withdraw the
relevant Entry, Award or Special Award, as applicable.
Cancellations and refunds

29. If you wish to withdraw your Entry, you must notify us:
29.1. by email to awards@eurobest.com; or
29.2. through your account at eurobest.com.
30. We reserve the right to disregard any other form of notification.
31. Subject to clause 35 (Entries withdrawn by us) of Part A of these Rules, if you withdraw your Entry on or before 11 October
2018 for any reason, you will be eligible for a refund on your Entry Fee less a processing fee of €100.
32. We will process refunds and credits after the Festival on receipt of a request to finance@eurobest.com. If requesting a
credit, please specify if this is for Entry Fees or delegate passes and the year you would like to use the credit for within your
request.
33. If you withdraw your Entry after 11 October 2018, you will not receive a refund or a credit.
Duplicate Entries from different Entrants

34. If we receive two Entries of the same work in the same Category or Section from different Entrants (e.g. if a Production
Company enters the same piece of work that an Agency has already submitted), the Entry Fee paid by the second Entrant
(i.e. the Entrant which submitted its Entry later in time) may be used by that Entrant to: (i) move the Entry to another Section
or Category; (ii) enter a new Entry in its place; or (iii) receive a credit note for next year’s Festival.
Entries withdrawn by us
35. We will not refund your Entry Fee where we have withdrawn your Entry because it:
35.1. does not comply with the Rules (including the eligibility requirements); or
35.2. is missing required media/results/information and you have failed to provide the information within a reasonable period
(where reasonable period is to be determined by us in our absolute discretion).
Changing your Categor y/Section

36. Before 2 November 2018 you may change the Category or Section that your Entry has been entered into.
37. If the Category or Section that your Entry has been entered into changes, you will:
37.1. not be eligible for any refund in respect of any price difference between the Entry Fee payable for the original Category
or Section and the new Category or Section (but any price difference will be credited to you for use against payment for
the Entry Fee for other Entries in the same year’s Awards);
37.2. be required to pay any additional amount in respect of any price difference between the Entry Fee payable for the
original Category or Section and the new Category or Section.
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ME THODOLOGY

38. Where you have entered a piece of work into the same Category or Section more times than permitted (please check the
Additional Requirements for each Category or Section for details), you will not be eligible to receive any refund. However,
you will be able to use the funds paid for that Entry Fee:
38.1. to move the work to another Category or Section; or
38.2. to enter a new piece of work in its place.
Miscellaneous
39. If you win an Award or Special Award, any duties, fees and charges accrued from the transporting of the trophy must be
covered by the recipient, not by us.
40. The eurobest trophy and all eurobest branding is the intellectual property, including copyright, design rights and trademark
rights, of Ascential and/or its group companies. We have the exclusive right to and not limited to, reproduce, manufacture,
copy, and sell the eurobest trophy in any size or medium, and to distribute or exploit the design of the eurobest trophy or
reproductions of the same by gift, sale, re-sale or licence. No reproduction, replica or other copy of the eurobest trophy
or eurobest branding may be made or used by any manufacturer, advertiser, organisation or individual except in accordance
with these terms unless you have our prior express written consent or a license from us.
41. Where we Display an Entry we are doing so for the purpose of criticism and review only. Displaying an Entry does not
constitute any recommendation, endorsement or promotion of the products or services featured in the Entry by us or any of
our affiliates. Subsequent Displays do not represent the views or opinions of us or our affiliates. Ascential and its affiliates do
not accept any liability of any kind in respect of any Display or any product or service referred to in any Display.
Entire Agreement
42. Each Entrant acknowledges and agrees that the Rules constitute the entire and only agreement between the Entrant and
Ascential. No Entrant has relied upon, nor has been given by Ascential, any warranty, representation, statement, assurance,
covenant, agreement, undertaking, indemnity or commitment of any nature whatsoever other than as expressly set out
in the Rules. In the event of any clash between these Rules and any other material published by us, these Rules shall take
precedence.
Invalidity
43. If any provision of the Rules is or becomes invalid, illegal or unenforceable in any respect, the validity, legality and
enforceability of any other provision shall not be affected or impaired in any way.
Liability
44. Ascential does not accept any responsibility for any damage, loss, injury or disappointment suffered by any Entrant.
45. Ascential’s liability to any Entrant, whether in contract or tort (including negligence), shall be limited to the amount of the
Entry Fee. For the avoidance of doubt, Ascential shall not be liable to any Entrant for any indirect, consequential or special
loss arising out of, or in connection with, the Festival, nor for any loss of profits or business (save that nothing shall exclude
Ascential’s liability for death or personal injury as a result of its negligence).
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Governing law and jurisdiction
46. The Rules shall be governed by and construed according to English law and the parties submit to the exclusive jurisdiction of
the English courts.
47. In the event of any dispute, controversy or claim between an Entrant and Ascential, arising out of or relating to the Rules,
including without limitation regarding its existence, validity or termination (a “Dispute”), the parties shall first seek settlement
of that Dispute in accordance with the following procedure:
47.1. any party alleging a Dispute shall send to the other party a written notice setting out the material particulars of the
Dispute (“Notice of Dispute”), which must state that it is sent pursuant to this clause; and
47.2. thereafter, the parties shall use reasonable endeavours to resolve the Dispute by good faith negotiations between them
for a period of four weeks from the date that the Notice of Dispute has been deemed to have been duly served.
48. In the event that the parties cannot settle the Dispute in accordance with clause 47 of Part A of these Rules (and within
the time period stipulated under clause 47.2 of Part A of these Rules), the Dispute shall be referred to and finally resolved
by mediation under CEDR or the parties may mutually agree to arbitration under the LCIA Rules, which LCIA Rules are
deemed to be incorporated by reference into this clause. The number of arbitrators shall be one. The seat, or legal place, of
arbitration shall be London and the language of the arbitration shall be English.
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Par t B – Additional Terms And Conditions That
Apply To Special Awards Only
Introduction
1. The Special Awards, to each of which Special Awards Rules apply, are as follows:
1.1. Network of the Year Award;
1.2. Agency of the Year Award;
1.3. Media Network of the Year Award;
1.4. Independent Agency of the Year Award;
1.5. eurobest Golden Palm Award;
1.6. Country Agency of the Year Award
2. The entry into, and awarding of, the Special Awards is governed by the Rules. In the event of any discrepancy between any
of the different Parts of the Rules applying to Special Awards (i.e. Parts A, B and/or C), the order of precedence for Special
Awards shall be as follows:
2.1. Part B (Additional Terms and Conditions that apply to Special Awards only); then
2.2. Part C (Special Awards Rules); then
2.3. Part A (General Terms and Conditions that apply to all Awards).
3. Certain Entries will be shortlisted for or win Awards. Those Companies which are shortlisted for or win Awards will be given
points which will count for all Special Awards for which those Companies are eligible, as set out in Part C of these Rules.
Crediting Rules (NB these apply to Roles only)

4. Each credit on your Entry must constitute one geographical office and business. For example, you cannot credit ‘Company,
United Kingdom’, you must credit ‘Company, London’ or ‘Company, Manchester’. If two Companies both worked Significantly
they must both be credited.
5. Each separate Company must be credited if they worked Significantly, even if they are geographically based in the same
place. For example, if ‘Company Health, London’ and ‘Company, London’ both worked on an Entry they must both be
credited, you cannot just credit ‘Company Group, London.
6. The credited Company name must exactly match the Legal/Trading Name of the Company.
7. The credited Company must be credited as they were branded/owned at the time of the execution of the Entry. For
example, Company A and Company B have merged during the Eligibility Period to create Company C. If the campaign took
place before the merger date the credited Company must be Company A or Company B, not the new Company C.
List of current Holding Companies and Networks

8. At time of writing, we consider the Holding Companies to be: BlueFocus Communication; Dentsu Group; Enero; Hakuhodo DY
Holdings; Havas Worldwide; Interpublic Group; MDC Partners; Omnicom; Publicis Groupe; and WPP.
9. At time of writing, we consider the Networks to be: Bartle Bogle Hegarty; BBDO Worldwide; Blue Focus; CDM Group;
Cheil Worldwide; Chime Communication; Daiko, DDB Worldwide; Dentsu, FCB; Grey; Innocean; Hakuhodo; Havas; J.
Walter Thompson; Leo Burnett; Kyu; M&C Saatchi; McCann Worldgroup; MDC Partners; Mullenlowe Group; Ogilvy; Publicis
Worldwide; R/GA; Saatchi & Saatchi; SapientRazorfish; TBWA Worldwide; The North Alliance; The & Partnership; Yomiko; and
Young & Rubicam Group.
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10. At the time of writing, we consider the Media Networks to be: Blue 449; Carat; Dentsu X; Essence; Havas Media Group;
Initiative; Hakuhodo DY Media Partner; Hearts & Science; Maxus, Mediacom; MEC; Mindshare; OMD Worldwide; PHD
Worldwide; Starcom; The Spark Foundry; UM; Vizeum; Wavemaker; and Zenith.
11. At the time of writing, we consider the Independent Networks to be: Droga5; Edelman; Fred & Farid; Jung von Matt;
Serviceplan; Syneous Health; The Bloc Partners; and Wieden & Kennedy.
12. We may update the lists of Holding Companies and Networks set out in clauses 8 to 11 inclusive of Part B of these Rules at our
absolute discretion. For example, if we become aware that one of the Networks is involved in a sale, merger or acquisition
that means that it is no longer a Network, we may remove it from the list. We will notify any Holding Company or Network
that is added to or removed from the relevant list.
13. If you wish to propose any change to the lists of Holding Companies and Networks set out in clauses 8 to 11 inclusive of Part B
of these Rules, please contact us by no later than 30 September 2018. We shall have ultimate discretion to decide the status
of any particular entity and our decision shall be final and binding.
Validation process and procedure for Special Awards

14. Companies must declare, at the time of entry into the Festival, which, if any, Network, Independent Network, Media Network
and/or Holding Company each credited Company is Owned by or Affiliated with.
15. All Companies are required to make due and careful enquiry of their legal counsel, company secretary, or Chief Financial
Officer to establish ownership and/or affiliation, in accordance with the applicable Ownership and/or Affiliation Tests.
Validation process
16. 9 November 2018 to 5pm GMT, 23 November 2018
16.1. Ascential will make available online to all Representatives the full list of all Companies credited to the 2018 Awards (the
“Published Data”).
16.2. Persons with access to the Published list on the Global Network Portal may submit to Ascential any comments,
corrections, or challenges to the Published Data. Such submissions will not be considered by Ascential unless they
are accompanied by appropriate evidence (whether through invoices, terms and conditions, contracts, or website
branding).
17. After the Final Deadline, all information regarding Companies will be considered ‘locked in’ and no further information or
requests for amendments to Company data will be considered for the purposes of calculations for Special Awards.
18. If a Company is not listed in the Published Data, and Ascential does not receive a request before the Final Deadline to include
that Company in the Published Data, Ascential shall have no obligation to include that Company in calculations of the Special
Awards.
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Disqualification and discretion
19. Companies must cooperate with Ascential and Representatives must provide Ascential with:
19.1. accurate information;
19.2. sufficient evidence to enable Ascential to determine whether a Company is Affiliated with or Owned by a Network,
Independent Network, Holding Company, Media Network and/or Healthcare Network (examples of appropriate
information may include contracts, ownership documents or change of branding on websites); and
20. Ascential shall have absolute discretion in determining:
20.1. a Company’s eligibility for a Special Award;
20.2. whether a Company falls within a Network, Holding Company, Independent Network and/or Media Network;
20.3. whether a Company has submitted false, deliberately misleading or fraudulent information; and
20.4. whether any correction is necessary to ensure the accuracy and integrity of the Special Awards or Ascential’s role in the
same.
21. Ascential will not be responsible for omissions or wrongful inclusions caused by it being provided with inaccurate or
insufficient information.
22. Ascential shall have the right to disqualify at any time any Company which has submitted false, deliberately misleading or
fraudulent information.
Confidentiality
23. Ascential will not divulge to any person, except to its professional representatives or advisers or as may be required by law or
any legal or regulatory authority, any information received during the Validation Process or otherwise which is identified by
the Representative, at the time of provision, as confidential.
24. For the avoidance of doubt, if information is provided to Ascential without being identified as confidential, Ascential shall not
treat that information as confidential.
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Par t C – Special Awards Rules
Network of the Year Award

1. Overview and Criteria: The Network of the Year Special Award is given to the Network Parent Company of the Network or
Independent Network whose members are the most successful overall for Entries in the Awards (in accordance with the
below allocation of points).
1.1. Members of a Network or Independent Network for the Network of the Year Award shall be those Companies which
satisfy either:
1.1.1. the Network Ownership Test; or
1.1.2. the Network Affiliation Test.
2. Points: Members of a Network or Independent Network will be allocated the following number of points for each of the
following Awards:
• 35 points for a Creative Effectiveness Grand Prix
• 30 points for all other Grand Prix, including Grand Prix for Good
• 15 points for a Glass Award
• 15 Points for an Innovation Award
• 15 Points for a Creative Effectiveness Award
• 15 points for a Gold Award
• 7 points for a Silver Award
• 3 points for a Bronze Award
• 1 point for a shortlist position
2.1. Companies credited with an Idea Creation Role on all shortlisted or winning Awards are eligible to accrue points towards
the Network of the Year Special Award. Points accrued by Companies credited are only assigned to a Network or
Independent Network if the company satisfies the Network Ownership Test or the Network Affiliation Test.
3. Calculation: The winner of the Network of the Year Special Award will be the Network or Independent Network whose
members obtain the most points for shortlisted and awarded Entries in aggregate in accordance with the above allocation of
points.
3.1. The total is calculated by adding:
3.1.1. the total points from Awards won by members of a Network or Independent Network; and
3.1.2. the total points from the remaining shortlisted Entries of members of a Network or Independent Network, save
that a Network or Independent Network member’s points will only count towards the Network’s overall total if
the Company in question was a Network or Independent Network member on the date that its award-winning or
shortlisted Entry or Campaign was initially launched, released, published or aired.
3.2. If an Entry is shortlisted and then goes on to win an Award, the shortlist point is no longer counted.
4. Shared points: If a shortlisted or winning Entry has been credited to more than one Company in the Idea Creation Role, the
points awarded to the Entry will be divided equally among the Companies credited.
4.1. If a shortlisted or winning Entry has been credited in the Idea Creation Role to more than one Company:
4.1.1. from the same Network or Independent Network, the full points awarded to the Entry will go to that Network or
Independent Network;
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4.1.2. from different Networks or Independent Networks, the points awarded to the Entry will be shared equally between
both Networks or Independent Networks (for example, if Agency A belonging to Network A wins a Gold Award
co-credited with Agency B, which belongs to Network B, then the points with be shared equally between both
Networks); and
4.1.3. if one Company is not affiliated to a Network or Independent Network, then only half of the points awarded to
the Entry (or the relevant equal proportion associated with the Company that is from a Network or Independent
Network) will count for the purposes of the Network of the Year Award and will be awarded to the relevant
Network or Independent Network (for example, if Agency A belonging to Network A wins a Gold Award and is co-
credited with Independent Agency B, then only half of the total points will count for the purposes of the Network
of the Year Award and will be given to Network A).
4.2. In the event of a Mixed Ownership Company winning or being shortlisted for an Award, the points which accrue by
reason of that Award or shortlist position will be split equally between all constituent entities which own at least 20% or
more of the Mixed Ownership Company (for example, if a Mixed Ownership Company is owned in equal proportions by
three Companies, each of those three Companies will receive one-third of the points which accrue).
5. Campaign points: If a Campaign of Executions wins an Award, Entries will also be awarded Campaign Points.
5.1. In the case of a tie between Networks/Independent Networks, the Campaign Points from a winning Campaign are valued
higher than regular shortlist points.
5.2. Where different Companies have been credited to separate Executions of an awarded Campaign of Executions, the
points will be divided pro rata. For example, if Agency A is credited with only 1 Execution of a 4-part Campaign of
Executions that wins a Silver Campaign Award, then Agency A will receive 2.5 points (7 points for the Silver Award + 3
Campaign Points = 10 points divided by 4).
6. Total tied points: In the case of a tie between Networks/Independent Networks in the number of points won by their
respective Companies, the winner will be determined in accordance with the following formula:
6.1. the Network or Independent Network with the highest overall number of Awards is the winner. If there is still a tie
between Networks/Independent Networks, then;
6.2. the Network or Independent Network with the highest number of highest ranking Awards is the winner. If there is still a
tie between Networks/Independent Networks, then;
6.3. the Network or Independent Network with the most shortlist and Campaign Points is the winner.
6.4. The formula is applied in the following practical examples. In both examples, Network A beats Network B based on the
number and rank of Awards won:
Example 1:
Network A Network B
2 Gold Awards 30 points 1 Gold Award 15 points
1 Silver Award 7 points 1 Silver Award 7 points
1 Shortlist 1 point 16 Shortlist 16 points
Total 38 Points Total 38 Points
Example 2:
Network A Network B
3 Bronze Awards 9 points 4 Silver Awards 28 points
6 Shortlist 6 points 2 Shortlist 2 points
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Media Network of the Year Award
1. Overview and criteria: The Media Network of the Year Award is given to the Network Parent Company of the Media Network
whose members are the most successful overall for Entries in the Awards for Entries in Media eurobest Award (in accordance
with the below allocation of points).
1.1. Members of a Media Network for the purposes of the Media Network of the Year Award shall be those Companies which
satisfy either:
1.1.1. the Media Network Ownership Test; or
1.1.2. the Media Network Affiliation Test.
1.2. All Entries in the Media eurobest Award with a credited Media Agency in the Media Placement Role are eligible to accrue
points, regardless of the Entrant Company. Media Agencies with shortlisted and winning Entries in Media eurobest Award
will contribute points to Media Network of the Year and Holding Company of the Year Award if a Media Agency has been
credited in the Media Placement Role.
1.3. Any Advertising Agency submitting an Entry to Media eurobest Award where the services of an external media Agency
were used MUST credit that Media Agency in the Entry submission.
1.4. Notwithstanding this, we shall have absolute discretion in determining a Media Network’s eligibility for this Special Award.
2. Points: The allocation of points used to calculate the Media Network of the Year Special Award is as follows:
• 30 Points for a Grand Prix
2.1. Media Agencies credited with a Media Placement Role on all shortlisted or winning Media eurobest Awards are eligible to
accrue points towards the Media Network of the Year Award. Points accrued by Companies credited are only assigned
to a Media Network if the company satisfies the Media Network Ownership Test or the Media Network Affiliation Test.
3. Calculation: The winner of the Media Network of the Year Award will be the Media Network whose members accrue the most
points for shortlisted and awarded Entries in Media eurobest Awards, in accordance with the above allocation of points.
3.1. The total points accrued by each Media Network is calculated by adding:
3.1.1. the total points from Media eurobest Awards awarded to members of a Media Network; and
3.1.2. the total points from the remaining shortlisted Entries of members of a Media Network, save that a Media Network
member’s points will only count towards the Media Network’s overall total if the Company in question was a
Network member on the date that its award-winning or shortlisted Entry was initially launched, released, published
or aired.
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4. Shared Points: If a shortlisted or winning Entry has been credited to more than one Company in the Media Placement
Role, the points awarded to the Entry will be divided equally among the Agencies and Companies.
4.1. If a shortlisted or winning Entry has been credited in the Media Placement Role to more than one Company:
4.1.1. from the same Media Network, the full points awarded to the Entry will go to that Media Network;
4.1.2. from different Media Networks, the points awarded to the Entry will be shared equally between both Media
Networks (for example, if Media Agency A belonging to Media Network A wins a Gold Award credited with Media
Agency B, which belongs to Media Network B, then the points with be shared equally between both Networks);
and
4.1.3. if one Company is not affiliated to a Media Network, then only half of the points awarded to the Entry (or the
relevant equal proportion associated with the Company that is from a Media Network) will count for the purposes
of the Media Network of the Year Award and will be awarded to the relevant Network (for example, if Media Agency
A belonging to Media Network A wins a Gold Award and is co-credited with Independent Media Agency B, then
only half of the total points will count for the purposes of the Media Network of the Year Award and will be given to
Media Network A).
4.2. In the event of a Mixed Ownership Company winning or being shortlisted for an Award, the points which accrue by
reason of that Award or shortlist position will be split equally between all constituent entities which own at least 20% or
more of the Mixed Ownership Company (for example, if a Mixed Ownership Company is owned in equal proportions by
three Companies, each of those three Companies will receive one-third of the points which accrue).
5. Total tied points: In the case of a tie between Media Networks in the number of points won by their respective members, the
winner will be determined in accordance with the following formula:
5.1. the Media Network with the highest overall number of Awards is the winner. If there is still a tie between Networks, then;
5.2. the Media Network with the highest number of highest ranking Awards is the winner. If there is still a tie between
Networks, then;
5.3. the Media Network with the most shortlist points is the winner.
5.4. The formula is applied in the following practical examples. In both examples, Network A beats Network B based on the
Example 1:
Network A Network B
Example 2:
Network A Network B
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Agency of the Year Award
1. Overview and criteria: The Agency of the Year Award is given to the Agency that obtains the most points overall for Entries in
the Awards, according to the below allocation of points.
2. Points: The allocation of points used to calculate the Agency of the Year Award is as follows:
• 15 Points for a Creative Effectiveness Awards
2.1. Agency points contribute to the Agency of the Year Special Award; and also
Independent Agency of the Year Special Award if the Agency is not part of a Holding Company.
2.2. Companies credited in an Idea Creation Role on all shortlisted or winning Awards are eligible to accrue points towards
the Agency of the Year Special Award. The exact method for points calculation is outlined in the calculation section
below.
3. Calculation: The winner of the Agency of the Year Special Award will be the Agency that obtains the most points in aggregate
for shortlisted or awarded Entries in accordance with the above allocation of points.
3.1.1. the total points from Awards that have been awarded to Agencies; and
3.1.2. the total points from the remaining shortlisted Entries of Agencies.
3.3. The maximum number of points awarded to an Agency for shortlisted Entries is 10. This does not include Campaign
Points, as these are linked to Campaigns of Execution that win an Award.
4. Multiple Entries: If the same Campaign or Execution is entered more than once within one eurobest Award and is shortlisted
and/or wins more than one Award, only the points for the highest Award or the highest points scoring Campaign of Executions
are counted.
4.1. For example, if a Campaign wins an Award and the same Campaign also wins another Award within that eurobest Award,
only the highest scoring Award counts. This rule is applied only within each eurobest Award; that is, if a Campaign wins
a Silver Award and a Gold Award in Direct eurobest Awards, only the Gold points are counted. However, if the same
Campaign wins a Silver Award in Direct eurobest Awards and a Gold Award in PR eurobest Awards, both the Silver and
Gold points are counted.
4.2. In eurobest Healthcare award, If the same Campaign or Execution is entered more than once within one Medium and
is shortlisted and/or wins more than one Award, only the points for the highest Award or the highest points scoring
Campaign of Executions are counted.
4.3. For the avoidance of doubt the Medium groupings within eurobest Healthcare are classed as:
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• Brand Experience & Activation and Direct
• Branded Content & Entertainment
• Creative Data
• Digital Craft
• Digital
• Film Craft
• Film
• Integrated
• Mobile
• Print & Publishing, Outdoor and Print & Outdoor Craft
• PR
• Product Innovation
• Radio & Audio and Radio Craft
• Use of Technology
5. Shared points: If a shortlisted or winning Entry has been credited to more than Company with an Idea Creation Role, the
6.1. In the case of a tie between Agencies, the Campaign Points from the winning Campaign are valued higher than regular
shortlist points
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7. Total tied points: In the case of a tie between the total number of points won by Agencies, the winner will be determined in
accordance with the following formula:
7.1. the Agency with the highest overall number of Awards, excluding the shortlist points and Campaign Points, is the winner.
If there is still a tie between Agencies, then;
7.2. the Agency with the highest number of highest ranking Awards is the winner. If there is still a tie between Agencies,
then;
7.3. the Agency with the most points, taking into consideration all duplicated Entries is the winner. If there is still a tie
between Agencies, then;
7.4. the Agency with the highest overall number of Awards, including the shortlist points and Campaign Points, is the winner.
7.5. the Agency with the most shortlist points and Campaign Points, disregarding the cap of 10, is the winner.
7.6. The formula is applied in the following practical examples. In both examples, Agency A beats Agency B based on the
Example 1:
Agency A Agency B
Example 2:
Agency A Agency B
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Country Agency of the Year Award
1. Overview and criteria: The Country Agency of the Year Award is given to the Agency from an individual country that obtains
the most points overall for Entries in the Festival, according to the below allocation of points.
2. For a country to qualify for Country Agency of the Year there must be a minimum of five different Entrant Companies from
that country.
3. For an Agency to qualify to be awarded or placed in Country Agency of the Year, they must obtain a minimum of 15 points as
calculated in section 3 below.
4. Points: The allocation of points used to calculate the Agency of the Year Award is as follows:
• 15 Points for a Creative Effectiveness Awards
5. Only presented to countries located in the European Region.
6. Companies credited in an Idea Creation Role on all shortlisted or winning Awards are eligible to accrue points towards the
Country Agency of the Year Special Award. The exact method for points calculation is outlined in the calculation section
below.
7. Calculation: The winner of the Country Agency of the Year Special Award will be the Agency that obtains the most points in
aggregate for shortlisted or awarded Entries in accordance with the above allocation of points.
7.1 The total is calculated by adding:
• the total points from Awards that have been awarded to Agencies; and
• the total points from the remaining shortlisted Entries of Agencies.
7.2 If an Entry is shortlisted and then goes on to win an Award, the shortlist point is no longer counted.
7.3 The maximum number of points awarded to an Agency for shortlisted Entries is 10. This does not include
Campaign Points, as these are linked to Campaigns of Execution that win an Award.
8. Multiple Entries: If the same Campaign or Execution is entered more than once within one eurobest Award and is shortlisted
and/or wins more than one Award, only the points for the highest Award or the highest points scoring Campaign of Executions
are counted.
only the highest scoring Award counts. This rule is applied only within each eurobest Award that is, if a Campaign wins
a Silver Award and a Gold Award in Direct eurobest Awards, only the Gold points are counted. However, if the same
Campaign wins a Silver Award in Direct eurobest Awards and a Gold Award in PR eurobest Awards, both the Silver and
Gold points are counted.
8.2. In Healthcare eurobest Award, If the same Campaign or Execution is entered more than once within one Medium and
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8.3. For the avoidance of doubt the Medium groupings within Healthcare eurobest Awards are classed as:
• Brand Experience & Activation and Direct
• Creative Data
• Digital Craft
• Digital
• Film Craft
• Film
• Integrated
• Mobile
• Print & Publishing, Outdoor and Print & Outdoor Craft
• PR
• Product Innovation
• Radio & Audio and Radio Craft
• Use of Technology
9. Shared points: If a shortlisted or winning Entry has been credited to more than Company with an Idea Creation Role, the
10.1. In the case of a tie between Agencies, the Campaign Points from the winning Campaign are valued higher than regular
shortlist points
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11. Total tied points: In the case of a tie between the total number of points won by Agencies, the winner will be determined in
accordance with the following formula:
11.1. the Agency with the highest overall number of Awards, excluding the shortlist points and Campaign Points, is the winner.
11.2. the Agency with the highest number of highest ranking Awards is the winner. If there is still a tie between Agencies,
then;
11.3. the Agency with the most points, taking into consideration all duplicated Entries is the winner. If there is still a tie
between Agencies, then;
11.4. the Agency with the highest overall number of Awards, including the shortlist points and Campaign Points, is the winner.
11.5. the Agency with the most shortlist points and Campaign Points, disregarding the cap of 10, is the winner.
11.6. The formula is applied in the following practical examples. In both examples, Agency A beats Agency B based on the
Example 1:
Agency A Agency B
Example 2:
Agency a Agency b
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Independent Agency of the Year Award
1. Overview and criteria: The Independent Agency of the Year award is given to the Independent Agency that obtains the most
points overall for Entries in the Awards, according to the below allocation of points.
2. Points: The allocation of points used to calculate the Independent Agency of the Year Special Award is as follows:
• 35 points for a Titanium and Creative Effectiveness Grand Prix
• 30 Points for all other Grand Prix, including Grand Prix for Good
• 30 points for a Titanium Award
2.1. Companies credited with an Idea Creation Role on all shortlisted or winning Awards are eligible to accrue points towards
the Independent Agency of the Year Special Award. Only independent agencies as outlined in the Rules for Special
Awards are eligible to accrue points towards the Independent Agency of the Year Special Award.
3. Calculation: The winner of the Independent Agency of the Year Special Award will be the Independent Agency that obtains
the most points in aggregate for shortlisted or awarded Entries in accordance with the above allocation of points.
3.1.1. the total points from Awards that have been won by Independent Agencies; and
3.1.2. the total points from the remaining shortlisted Entries of Independent Agencies.
4. Shared points: If a shortlisted or winning Entry has been credited to more than one Company in the Idea Creation Role the
points awarded to the Entry will be divided equally among the Companies eligible. For the avoidance of doubt Independent
PR Agencies and Independent Media Agencies are eligible to receive points for Independent Agency of the Year Special
Award.
4.1. If a shortlisted or winning Entry has been credited to more than one Company and one is not an Independent Agency,
then only half of the points awarded to the Entry (or the relevant equal proportion associated with the Independent
Agency) will count for the purposes of the Independent Agency of the Year Award and will be awarded to the
relevant Independent Agency (for example, if Independent Agency A wins a Gold Award and is co-credited with non-
independent Company B, then only half of the total points will count for the purposes of the Independent Agency of the
Year Special Award and will be given to Independent Agency A).
5.1. In the case of a tie between Independent Agencies, the Campaign Points from the winning Campaign are valued higher
than regular shortlist points.
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6. Total tied points: In the case of a tie between the total number of points won by Independent Agencies, the winner will be
determined in accordance with the following formula:
6.1. the Independent Agency with the highest overall number of Awards, excluding the shortlist points and Campaign Points,
is the winner. If there is still a tie between Independent Agencies, then;
6.2. the Independent Agency with the highest number of highest ranking Awards is the winner. If there is still a tie between
Independent Agencies, then;
6.3. the Independent Agency with the most Entry points, taking into consideration all duplicated Entries is the winner. If
there is still a tie between Independent Agencies, then;
6.4. the Independent Agency with the most shortlist and Campaign Points is the winner;
6.5. the Independent Agency with the highest overall number of Awards, including the shortlist points and Campaign Points,
is the winner. If there is still a tie between Independent Agencies, then;
6.6. the Independent Agency with the most shortlist points and Campaign Points, disregarding the cap of 10, is the winner.
7. The formula is applied in the following practical examples. In both examples, Independent Agency A beats Independent
Agency B based on the number and rank of Awards won:
Example 1:
agency A Agency B
Example 2:
Agency A Agency B
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eurobest Golden Palm Award
1. Overview and criteria: The eurobest Golden Palm Award honours the Production Company that obtains the most points
overall for Entries in the Digital Craft, Entertainment (Section A), Film, Film Craft, Mobile and Digital eurobest Awards as well
as Branded Content, Digital, Digital Craft, Film, Film Craft & Mobile Mediums in eurobest Healthcare Awards in the Awards
according to the below allocation of points.
1.1. If a Production Company has more than one office in a country, points from those offices will be aggregated. Points will
be aggregated where: (a) the offices share a Legal/Trading Name (e.g. ‘Production Company A, London’ and ‘Production
Company A, Manchester’); or (b) the offices share the same owner and are different branches of the same company.
2. Points: The allocation of points used to calculate the Awards Palm Award is as follows:
• 30 points for a Grand Prix, including Grand Prix for Good
2.1. Production Companies credited in Digital Craft, Entertainment (Section A), Film, Film Craft, Mobile and Digital eurobest
Awards will automatically contribute to the eurobest golden Palm Award. Productions Companies credited in the
Branded Content, Digital, Digital Craft, Film, Film Craft & Mobile Mediums within Healthcare eurobest Awards will also
automatically contribute to the eurobest Golden Palm Award.
3. Calculation: The winner of the eurobest Golden Palm Award will be the Production Company that obtains the most points in
aggregate for shortlisted or awarded Entries in accordance with the above allocation of points.
3.1.1. the total points from Awards that have been won by Production Companies; and
3.1.2. the total points from the remaining shortlisted Entries of Production Companies.
3.3. The maximum number of points awarded to a Production Company for shortlisted Entries is 10. This does not include
Campaign Points, as these are linked to Campaigns of Execution that win an Award.
4. Multiple Entries: If the same Campaign or Execution is entered more than once within one Award and is shortlisted and/or
wins more than one Award, only the points for the highest Award or the highest points scoring Campaign of Executions Award
are counted.
only the highest scoring Award counts. This rule is applied only within each eurobest Award; that is, if a Campaign
wins a Silver Award and a Gold Award in Film eurobest Awards, only the Gold points are counted. However, if the same
Campaign wins a Silver Award in Film eurobest Awards and a Gold Award in Digital eurobest Awards, both the Silver and
Gold points are counted
4.2. In Healthcare eurobest Awards, if the same Campaign or Execution is entered more than once within one Medium and
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4.3. For the avoidance of doubt the Medium groupings for the purpose of the eurobest Golden Palm Awards Calculations
within Healthcare eurobest Award are classed as:
• Digital Craft
• Digital
• Film Craft
• Film
• Mobile
5. Shared points: If a shortlisted or winning Entry has been credited to more than one Production Company the points awarded
to the Entry will be divided equally among the Companies credited.
6.1. Shortlist points awarded to Campaign Entries that win an Award will be converted into Campaign Points and will still be
counted towards the eurobest Golden Palm Special Award total.
6.2. In the case of a tie between Productions Companies, the Campaign Points from the winning Campaign are valued higher
than regular shortlist points.
6.3. Where different Production Companies have been credited to separate Executions of an awarded Campaign of
Executions, the points will be divided pro rata. For example, if Production Company A is credited with only 1 Execution
of a 4-part Campaign of Executions that wins a Silver Campaign Award, then Production Company A will receive 2.5
points (7 points for the Silver Award + 3 Campaign Points = 10 points divided by 4).
7. Total tied points: In the case of a tie between the total number of points won by Production Companies, the winner will be
determined in accordance with the following formula:
7.1. the Production Company with the highest overall number of Awards, excluding the shortlist points and Campaign points,
is the winner. If there is still a tie between Production Companies, then;
7.2. the Production Company with the highest number of highest ranking Awards is the winner. If there is still a tie between
Production Companies, then;
7.3. the Production Company with the most Entry points, taking into consideration all duplicated Entries is the winner. If
there is still a tie between Production Companies, then;
7.4. the Production Company with the highest overall number of Awards, including the shortlist and Campaign Points is the
winner. If there is still a tie between Production Companies, then;
7.5. the Production Company with the most shortlist and Campaign Points, disregarding the cap of 10, is the winner.
7.6. The formula is applied in the following practical examples. In both examples, Production Company A beats Production
Company B based on the number and rank of Awards won:
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Example 1:
Production Company A Production Company B

Example 2:
production Company A Production Company B

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Par t D –Grand Prix For Good Rules
Grand Prix for Good Awards

1. We recognise that it is difficult to judge work created for charities, not-for-profits or NGOs against for-profit work.
2. The eurobest Grand Prix for Good is a specialist Award. Work cannot be entered directly but becomes eligible if it is awarded
a Gold Award in any eurobest Awards excluding Film Craft and Innovation eurobest Award.
Grand Prix for Good Eligibility
What is eligible for a Grand Prix?
An Entry that was produced for:
• A commercial Client, regardless of the message in the Entry;
• A company that sells products or services for commercial gain, regardless of the use of the product;
• The purposes of paid recruitment, even if it is for a charity, not-for-profit or NGO Client (e.g. recruitment for the
charities, medical establishments etc.); or
• Any company that sells items not-for-profit, where this results in a corporate image or PR benefit for a company
that sells products or services for commercial gain.
What is eligible for a Grand Prix for Good?
An Entry that was produced for:
• One or more charities, not-for-profits or NGO Clients only;
• Any event put on by charity, not-for-profit or NGO Client where the profits are used for charitable aims only; or
• Any public awareness message or health message commissioned by a charity, not-for-profit or NGO. The message
must not be associated with a commercial Client.
Examples of Entries that may be eligible for a Grand Prix for Good include work created for the following: charities; charitable
funds; charitable foundations; appeals; donations; NGOs; not-for-profit unions & associations; and not-for-profit facilities such
as libraries and museums (Entrants must provide evidence that the library or museum is not-for-profit).
Government messages such as army recruitment, road safety, public health etc. are judged to be branded, not charity, work and
are therefore ineligible for a Grand Prix for Good.
If the Client creates profits for individuals or shareholders, or creates a PR or corporate image benefit for a company that creates
profits for individuals or shareholders, the Entry will be ineligible for a Grand Prix for Good.
If a piece of work wins a Creative Effectiveness Gold in 2018 it will only be eligible for a Grand Prix for Good if it was awarded a
Silver or Bronze Award or was shortlisted in 2017, 2016 or 2015.
An Entry that is eligible for a Grand Prix for Good is not eligible for any other Grand Prix, except for a Grand Prix in the Film Craft
or Innovation Award.
Interpretation
We have absolute discretion to decide if an Entry is eligible for a Grand Prix or a Grand Prix for Good. We retain the right to
contact Clients or other interested parties to get any information we need to make that decision. Our decision shall be final and
binding.
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Glossar y
In these Rules, unless otherwise stated, the following words shall have the following meanings:
“Additional Company” means a single office of any Company credited within an Entry as having held a
non-Significant role in relation to that Entry, which does not attract any points
towards any Special Awards;
“Additional Company Role” means any Company who contributed a non-Significant Role in relation to that
Entry;
“Additional Requirements” means any additional eligibility requirements set out on our website eurobest.com
(e.g. in an entry kit)
“Affiliated” means a Company that satisfies the applicable Affiliation Test, in relation to the
relevant Special Award for which it is eligible;
“Affiliation Test” means one of: the Media Network Affiliation Test; or the Network Affiliation Test
(together being the “Affiliation Tests”);
“Agency” means a single office of an advertising, communications, PR, design or other
agency that is a service-based business dedicated to creating advertising and
other forms of promotional marketing and communications in any media for its
clients;
“Ascential” (also “we”, “us”, “our”) Ascential Events (Europe) Limited a company incorporated in England and Wales
with registered number 07814172 whose registered office is c/o Ascential Group
Limited, The Prow, 1 Wilder Walk, London W1B 5AP, England;
“Award” means an Award which is determined by jury, and awarded during the Festival,
given to an Entrant as a result of an Entry winning within a Category. References
to types of Awards (e.g. Gold Awards, Silver Awards) are references to the specific
rankings of the Awards;
“Campaign” means a coordinated series of linked, single or multi-channel Executions with a
single idea or theme;
“Campaign of Executions” means a series of two or more Executions of the same creative idea, advertising
the same product/service, via the same medium;
“Campaign Points” means those points which are awarded when a Campaign of Executions is
awarded an Award. For the purpose of calculating Campaign Points, a Campaign
of Executions as a whole will be considered as one Award. The Entry’s shortlist
points will be converted into a combination of points attributable to winning the
Award and Campaign Points corresponding to the number of Executions within
the Campaign of Executions. For example, where a Campaign of Executions,
featuring three Executions, wins a Gold Award, the Campaign of Executions will be
awarded fifteen points for the Award, plus two Campaign Points for the remaining
Executions;
“Category” means a constituent category within a Section, e.g. A05. Automotive;
“Client” means the organisation whose products or services are being communicated in
the Entry;
“Company” (plural “Companies”) means an Agency, Additional Company, Client or Production Company (whether
incorporated or not, and in any corporate form);
“Display” means a feature, display, exhibition or presentation of an Entry or Entries;
“Dispute” has the meaning given to it in clause 47 of Part A of these Rules;
“Eligibility Period” means 1 September 2017 to 31 October 2018 inclusive;
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“Entrants” (also “you”, “your”) means the person, company or other legal entity that submits an Entry for
consideration in the Festival. If an Entry is shortlisted for or wins an Award, the
Entrant is the entity which receives any trophies or certificates awarded. However,
the Entrant will not receive any points towards Special Awards unless they are also
credited in one of the point-winning fields in the Entry form. The point-winning
fields are as follows: Idea Creation, Media Placement & Production.
“Entry” means the work submitted by an Entrant for consideration in the Festival (an Entry
occurs when you submit an Entries Payment Form to us);
“Entry Fee” means the amount paid by an Entrant to Ascential, at the time of entry into the
Festival and submission of the Entries Payment Form;
“Entry Materials” means all materials you provide to us, including your Entry;
“Entries Payment Form” means the online entry form required for the submission process (Entries are only
accepted once this online payment form has been completed);
“eurobest Award” means a grouping of Sections, which are as follows:
(a) Brand Experience & Activation
(b) Creative Data
(c) Creative Effectiveness
(d) Design
(e) Digital
(f) Digital Craft
(g) Direct
(h) Entertainment
(i) Film
(j) Film Craft
(k) Glass: The Award for Change
(l) Healthcare
(m) Innovation
(n) Integrated
(o) Media
(p) Mobile
(q) Outdoor
(r) PR
(s) Print & Publishing
(t) Print & Outdoor Craft
(u) Radio & Audio

European Region Albania, Andorra, Armenia, Austria, Azerbaijan, Belarus, Belgium, Bosnia and
Herzegovina, Bulgaria, Croatia, Cyprus, Czech Republic, Denmark, Estonia,
Finland, France, Georgia, Germany, Greece, Hungary, Iceland, Ireland, Israel, Italy,
Kazakhstan, Kosovo, Latvia, Liechtenstein, Lithuania, Luxembourg, Macedonia
(FYROM), Malta, Moldova, Monaco, Montenegro, Netherlands, Norway, Poland,
Portugal, Romania, Russia, San Marino, Serbia, Slovakia, Slovenia, Spain, Sweden,
Switzerland, Turkey, Ukraine, United Kingdom, Vatican City.
“Execution” means a specific advertisement or instance of branded communication, e.g. a
particular Coca-Cola TV spot, poster or branded event;
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“Festival” means the eurobest Festival, comprising of the Awards and the Special Awards;
“Festival Purposes” has the meaning given to it in clause 20 20 of Part A of these Rules;
“Final Deadline” means the deadline for: (a) providing information regarding ownership and/or
affiliation of Agencies and Companies (in accordance with the relevant Affiliation
Test or Ownership Test) for the purposes of calculations for Special Awards, and
(b) requesting any amendments to the credits in the Published Data. The Final
Deadline for the 2018 Awards shall be 5pm GMT on 23 November 2018, and
references to expiry of the Final Deadline shall mean any point in time after 5pm
GMT on 23 November 2018;
“Guiding Principles” means the guiding principles set out in Part A of these Rules which indicate the
spirit in which Ascential will interpret and apply all the Rules;
“Grand Prix for Good Rules” means the rules for Grand Prix for Good Awards which are set out in Part D of
these Rules;
“Holding Company” means one of the holding companies included in the list of holding companies set
out in clause 8 of Part B of these Rules (as amended from time to time);
“Holding Company Ownership Test” means a test that will be satisfied by Companies if they are 20% or more owned
by: (a) the Holding Company; or (b) a subsidiary company of the Holding Company
which is itself 20% or more owned by the Holding Company;
“Idea Creation Role” means any Company that was Significantly involved in the creation of the idea at
the core of an Entry;
“Independent Agency” means an Agency that is: (a) majority (51% or more) owned by its management or
independent shareholders; and (b) not associated with any Holding Company or
Network (excluding Independent Networks). For the avoidance of doubt, Agencies
that are not part of a Network but which are owned more than 20% by a Holding
Company are not considered to be an Independent Agency. The number of offices
an Agency has and the number of countries in which an Agency is located is
irrelevant as to whether an Agency is an Independent Agency;
“Independent Network” means one of the independent networks included in the list of independent
networks set out in clause 11 of Part B of these Rules (as amended from time to
time);
“Legal/Trading Name” means either: (a) the legal name of the Company (e.g. as registered with the
relevant authority); or (b) the trading name of the Company, where the Company
is able to demonstrate to our satisfaction use of this name in the ordinary course
of business (e.g. by reference to invoices, contracts, terms and conditions, or the
Company’s website);
“Media Agency” means an Agency that advises brand owners and advertising agencies on a brand’s
position, messaging and creative communications;
“Media Network” means one of the media networks included in the list of media networks set out in
clause 10 of Part B of these Rules (as amended from time to time);
“Media Network Affiliation Test” means a test that will be satisfied by Companies if they: (a) include the Media
Network’s name in their Legal/Trading Name; or (b) are owned by an entity that
shares the same Legal/Trading Name as the Media Network;
“Media Network Ownership Test” means a test that will be satisfied by Companies if they are 51% or more owned
by: (a) the Network Parent Company; or; (b) a Subsidiary Company of the Network
Parent Company which is 51% or more owned by the Network Parent Company;
“Media Placement Role” means a media Agency that worked Significantly or solely on the media strategy of
the work being submitted or any other type of Company who worked Significantly
on the media strategy;
“Medium” means a single channel or branded messaging platform;
“Mixed Ownership Companies” means any entity which is owned by two or more Companies;
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“Mixed Ownership Test” means a test that will be satisfied by each Company providing evidence of a
minimum of 20% or more ownership in the Mixed Ownership Company that has
been entered for an Award. Companies with less than 20% will not be treated as
an owner unless they can evidence control over management, key decisions or
hold voting rights;
“Network” means one of the networks included in the list of networks set out in clause 9 of
Part B of these Rules (as amended from time to time);
“Network Affiliation Test” means a test that will be satisfied by Companies if they: (a) include the Network’s
name in their Legal/Trading Name; or (b) are owned by an entity that shares the
same Legal/Trading Name as the Network;
“Network Ownership Test” means a test that will be satisfied by Companies if they are 51% or more owned
by: (a) the Network Parent Company; or (b) a subsidiary company of the Network
Parent Company which is itself 51% or more owned by the Network Parent
Company;
“Network Parent Company” means the ultimate, and common, parent company of a Network or Independent
Network;
“Notice of Dispute” has the meaning given to it in clause 47.1 of Part A of these Rules;
“Owned” means a Company that satisfies the applicable Ownership Test, in relation to the
relevant Special Award for which it is eligible;
“Ownership Test” is the collective term used to describe one of: (i) the Healthcare Network
Ownership Test, (ii) the Media Network Ownership Test, (iii) the Network Ownership
Test, or (iv) the Mixed Ownership Test (together being the “Ownership Tests”);
“Production Company” means a single office of a production company which is responsible for the
creation, realisation and/or filming of content;
“Production Role” means a Production Company that had a Significant role in the production of the
Entry being submitted. This can be any type of Company who worked Significantly
on the production. This does not refer to Companies who solely produced the
‘case film’ for the Entry;
“PR Role” means the Company which worked Significantly on the public relations (“PR”)
Campaign for the Entry being submitted. This can be any type of Company which
worked on the PR Campaign;
“Published Data” means the information in respect of the 2018 Entries which Ascential makes
available online to Representatives, as set out in clause 16.1 of Part B of these
Rules, including all Companies credited in Entries to the 2018 Awards;
“Representative” means an authorised representative nominated by the relevant Company, who is
of sufficient seniority to validate information provided on the Published List;
“Restriction” has the meaning set out in clause 21 of Part A of these Rules;
“Rules” means:
(a) Part A of these Rules (General Terms and Conditions that apply to all
Awards);
(b) Part B of these Rules (Additional Terms and Conditions that apply to
Special Awards only); and
(c) Part C of these Rules (Special Awards Rules); and
(d) Part D of these Rules (Grand Prix for Good Rules);
as applicable and as amended from time to time;

“Scam Entry” has the meaning given in clause 9 of Part A of these Rules;
“Section” means a constituent section of the Festival;
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ME THODOLOGY

“Special Award” means an Award that is won by the calculation of points rather than being
awarded by a jury. Points accrue upon Entries winning or being shortlisted for
Awards (as further specified in these Rules); and
“Special Awards Rules” means the Award-specific rules applying to each Special Award which can be
found in Part C of these Rules.
“Significant” or “Significantly” when used in reference to a Company’s Role in relation to an Entry, shall mean
the Company or Companies which contributed to the particular Role. At least one
Company must be credited with the Role if there is any Company which meets at
least one of the following criteria:
(a) The Company contributed 20% or more of the key team members involved in
carrying out the Role;
(b) The Company contributed 20% or more of the total hours expended for that
Role in relation to the particular Entry;
(c) The Company received 20% or more of the billings/fees for that Role in
relation to the particular Entry;
(d) The Company was named on the contract with the advertiser and was clearly
visible to the advertiser as having performed the relevant Role in relation to the
particular Entry; and
“Validation Process” means the validation process set out in clauses 16 to 18 inclusive of Part B of these
Rules.
74

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15 THE WINNERS EXPL AINED

16 Brand Experience & Activation (Laurence Thompson)

38 THEMES & TRENDS FROM THE WINNING WORK