< Back
Malcolm Poynton, Global Chief Creative Officer for Cheil Worldwide and Grand Jury President summed up this year’s award, “In briefing the jury for ADFEST this year, I asked they judge with open hearts; to celebrate world-class ideas that come from and are true to the incredible local cultures of Asia and the Pacific. To be confident in voting for the creativity of Asia, leaving behind any ‘global’ view, any agency vs agency, country vs country views often seen at other shows.

“Overall impressions from the juries were one of truly world-class work rooted in local culture, along with a welcome shift toward more emotional work, the return of wit, humour and more personality in the work. I’m happy to say Human Intelligence is evident in all winning work. From Design and INNOVA to Digital, Mobile, Film, Film Craft, Effective, Lotus Roots and Lotus Grande, we’re seeing it takes creative minds to have the human insight and imagination to take the leaps that result in creative ideas that move people.”

David Guerrero, Creative Chair for BBDO Guerrero, Manila was Jury President for Film, Outdoor, Press and Radio & Audio. 

“I was excited to review and compare these categories to the last time I headed a jury at ADFEST almost 20 years ago. Back then these four categories comprised the entire festival. Now they represent “classic” creativity. And it's good to see what has changed and what has not. Film is in some ways they least changed of the four. 

“If anything, the importance of good filmmaking, even in a classic 30 or 60 length, has only increased. Radio & Audio Lotus was not the strongest category before but has been revitalised to some extent by the "use of audio" component. 
“Outdoor is still interesting. There is a bias now towards activation and interactivity with social media. So classic billboards are less seen in the show.” 

“Finally, Press still seems to be searching for a role. It's no longer seen as a "mass" medium. It does however still have a vital role as a way to influence opinion. And there is still respect for the power of the printed word.” 

Of the Outdoor Grande award winner, Mom’s Bed by Leo Burnett Korea for McDonald’s, David Guerrero, stated, “The interesting thing here is the brand was willing to take a stand about a health policy matter. Many brands shy away from expressing a point of view on things like this and we all liked how the execution linked seamlessly to social and led to an action to address the problem.”

Of the Press Grande winner, The Newspapers Inside. The Newspaper Edition by Impact BBDO for An Nahar Newspaper, he commented, “The role of the press in political debate is highlighted in this piece where banned newspapers were reprinted within one complete daily. It showed defiance and strength in the face of censorship. And also shows that it needs to be confronted in an actionable way.” 

Of the Film Grande winner, Sammakorn Not Sanpakorn for Sammakorn by Choojai and Friends, Bangkok, he said, “This film stood out for its embrace of a very authentic problem with the brand name. The script was illuminated by the performance of the lead character. The direction brought it all together as a confident comedic masterwork. All in all, this was a unanimous verdict by the jury for the best film in the competition.” 

Malcolm Poynton, Global Chief Creative Officer, Cheil Worldwide from London was Jury President for Effective and Sustainable.

Of the Effective Grande winner, #Bringback2011 for Oreo by Mondelez International Foods Pvt Ltd, Mumbai, he stated, “The jury applauded the truly local insight of this campaign coming from a global brand, tapping into local superstitions to successfully take a bite out of the highly competitive local biscuit market. The tone was pitch-perfect; it appeared serious in execution while being playful as an idea. This is what resulted in it successfully embedding the Oreo brand in local culture. The re-launch aspect was a brilliant twist that enabled this global brand to take a bite out of an extremely competitive local market.” 

Malcolm Poynton, Global Chief Creative Officer, Cheil Worldwide was Grand Jury President for INNOVA Lotus and Lotus Roots. The jury comprised of all the Jury Presidents at ADFEST, including:

Jury President of Brand Experience Lotus, Commerce Lotus and Direct Lotus:
        Bill Yom, Founder & Chief Creative Officer, Jung von Matt HANGANG, Seoul  

Jury President of Design Lotus and Print & Outdoor Craft Lotus:
        Ashwini Deshpande, Co-Founder & Director, Elephant Design Pvt. Ltd., Pune 

Jury President of Digital & Social Lotus, Digital Craft Lotus and Mobile Lotus:
        Rei Inamoto, Founding Partner of I&CO, APAC

Jury President of Entertainment Lotus, Media Lotus and PR Lotus:
        Wendy Chan, Executive Creative Director, Health APAC, Edelman, Hong Kong 

Jury President of Film Craft Lotus and New Director Lotus:
        Emma Daines, CEO, Founder & Executive Producer, Fin Design & Effects, Sydney

Jury President of Film Lotus, Outdoor Lotus, Press Lotus and Radio & Audio Lotus:
        David Guerrero, Creative Chairman, BBDO Guerrero, Manila

This jury also selected the winning work for Lotus Grande for Humanity.

Of the Grande INNOVA Lotus winner, Shellmet for Shellmet, by TBWA\Hakuhodo Inc., Tokyo, Poynton commented, “Shellmet is so much more than just a helmet. It extends into a holistic design solution for not just a small Hokkaido fishing village but globally too. Innovation sits at its core. From biomimicry design of the Helmet being 30% more resilient than petrochemical acrylic helmets to pioneering the production of a new eco-material from Scallop shells, simultaneously eradicating much of the 40,000 tonnes of cadmium-leaching waste shells; this innovative project doesn’t just solve for today, it also inspires for tomorrow too.”

The Lotus Roots Grande was won by My Japan Railway by Dentsu Inc., Tokyo for Japan Railway 150th Anniversary Campaign. Poynton commented, “My Japan Railway’s exquisitely crafted 900 station stamp adventure is a true celebration of local culture and traditions. One cannot but help be drawn into the playful game of discovering more and more stations. Drawn-in by the rich graphic nature of the station iconography, you find yourself scanning the ‘map’ before deep-dive into details, triggering a sense of excitement to ‘see for yourself’ the stations and towns behind the stamps. Combining the most refined of analog design aesthetics with the most rewarding of digital experiences (even the process of collecting the digital stamp sees the ‘ink’ imprint respond to the pressure you apply to the screen), it speaks to all generations, to local and foreign visitors in a way that makes JR’s 150-year history relatable and truly appreciated by all passengers.” 

23 March, 2024            
For all the latest ADFEST news, subscribe to ADFESTbuzz :