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Editor’s Column

This year’s Annual winners bucked the multi-year decline we’ve witnessed in traditional media formats—specifically print ads and radio commercials. Both categories saw a significant increase in selected winners, but that’s not to say that digital innovation was absent from the year’s selections.
Go to Jurors Biographies

“I was very happy to see a pretty high standard across most categories,” juror Ali Shabaz says. “What really impressed me was the attention to craft, particularly in digital and film.”

“A lot of creatives are out there solving problems for brands in unexpected ways,” says juror Tynesha Williams.

“I enjoyed seeing some of the work for smaller brands that don’t get huge visibility, with a more artistic angle in their executions,” juror Alvar Suñol says.

“I was beyond thrilled to see the work from this year’s showcase,” says juror Sherman Winfield. “It’s been a tough few years in the creative space globally. It’s beyond evident that brands and agencies alike are getting back [to being] comfortable with bold and audacious work.”

“I was surprised, relieved and super-happy to see a lot of brave clients and braver agencies creating impactful campaigns this year,” juror Albert Chan says.

In addition to commenting on this year’s Best-in-Show winners, multiple jurors called out several other projects worthy of special mention.

“It was a joy to see some exceptionally smart work in this year’s show,” says juror Sandy Greenberg. “From VMLY&R’s NYC Says Gay to Preacher’s Can I get an AHA to Rethink’s Draw Ketchup, you can always count on Communication Arts to attract the best work in the print world. In Non-Traditional, a highlight was Boone Oakley’s StarMed Wilmore Funeral Home, and my personal favorite campaign was Rethink’s Ability Signs for Decathlon Canada.” 

“I think a great example is [Penguin Random House’s] Unburnable Book, which took a stand on censorship and wrapped it with a smart, simple idea and brilliant execution,” juror Marty Senn says.

“The two entries I’ve chosen [to mention] couldn’t be more distinct from one another: while one is firmly planted in the real world—with real consequences for real people—the other is based completely within the unreal, intangible world of Meta,” says juror Cher Campbell. “The First Meta Sneaker from VMLY&R is the first idea I’ve seen that demonstrates that being able to move between platforms [creates] ownership within the metaverse. The Election Edition from Impact BBDO does the opposite. It proves the absence of something is as powerful as its presence. It solved a problem in an important and elegant way: You need paper to print ballots? Here’s some paper. But the small sign on every newsstand with a QR code to that day’s publication? That was genius. More papers being read on the day there were no papers? Wow, I’m jealous.”

“I think if there was a theme this year it would be ‘think fast,’” juror Morgan Tierney says. “Ideas like Wendy’s Boomer Book, IKEA’s Cristiano Bottle and even Bacon Shoelaces all had their fingers on the cultural pulse and the nerve to just put something out there fast, rather than wait for the focus group’s results. I was [also] impressed by the amount of ideas that turned a negative into a positive. Supply shortage? Enter Thigh Stop. Devastating flood? Say hello to #Flutwein. Ideas like that speak to the resilience and optimism that are [the] hallmarks of great creative.”

In addition to asking the jurors about what they liked, I also asked about their biggest disappointments with the entries.

“I wished to see more entries from other countries, especially ones we seldom hear about,” says Chan. “I hope we can celebrate more creativity from a more diverse society, all over the world.” 

“I felt some of the entries [would’ve] had so much more potential if they had been pushed as ideas across categories,” Shabaz says. “Perhaps it was due to budget constraints, but I felt some entries didn’t live up to the client’s potential or took the idea far enough.”

“The overall level of craft in the entries wasn’t hitting any high-water marks,” says Senn. “[Laziness]? Tight timelines? Who knows?” 

“It’s been well over two years since the you-know-what hit and we were subjected to endless ‘we’re all in this together’ ... and yet here we are in 2022 still waiting for some brave brand to finally kick the door down and blow us away with comedy,” Tierney says.

“While AI/machine learning is still in its infancy, I was hoping to see how brands took on this new global phenomenon,” says Winfield.

“It would have been nice to see even more entries using emerging tech,” Williams says. 

Finally, I asked the jurors what developments might dramatically alter the role of advertising in the future.

“Experiential advertising will be big in the future,” says Shabaz. “There will be a big demand for brands to connect one-on-one and deliver rich consumer experiences to stay on top of the game.”

“If my seventeen-year-old daughter is any [indicator] of the purchasing habits of the next generation, influencers will gain even more importance in our industry,” Greenberg says. “When she hears a message from Charlie D’Amelio or JoJo Siwa, it’s not an ad; it’s a tip. Also, as we think about the meaning of ‘craft’ in our industry, we should expand our definition beyond brilliant direction, flawless casting and gorgeous cinematography. There’s a new type of raw, authentic, spontaneous content that is equally captivating to a large segment of the population. While many of us classic ad folks scratch our head at the phenomenon that is TikTok, it’s important to remember that our parents felt the same way about Elvis.”

“New developments constantly alter the role of advertising,” says Williams. “There is always some new tech that allows consumers to be less impressed with ads. It’s the ‘I can do it myself’ period, and we have to keep figuring out how to meet the moment. [Consumers] are making so many great things on their own. We always talk on my team about making sure [ours] isn’t an idea that the average consumer with a phone could create themselves. This was never a thing before. You weren’t competing with DIY ads and content. That’s not a bad thing: It just doesn’t allow the industry to get lazy. It pushes us.” 

“With social tensions and cultural divisiveness at an all-time high, we advertisers have an obligation to continue to use our platforms to provide valuable LGBTQ+ representation and amplify more BIPOC voices,” Tierney says. “It’s no longer sufficient for a brand to change their logo for Pride month or cast one token BIPOC actor. As communication experts, our role includes pushing our clients towards diverse stories and meaningful action.”

“Brands are now being looked upon to care more and be even more human than ever before,” says Winfield. “Once we get past pulling at heartstrings, we’ll see which brands connect to people in the most effective way.”

A minimum of six out of nine votes was required for a project to be awarded in this year’s competition. Judges were not permitted to vote on projects with which they were directly involved; I voted in their stead. I would like to extend our grateful appreciation to our jurors for their conscientious efforts in selecting our 63rd Advertising Annual. —Patrick Coyne ca

Jurors Biographies
Cher Campbell
chief creative officer
john st.

Cher Campbell is chief creative officer of ad agency john st. in Toronto, Canada. At eighteen, Campbell quit school to sell hand-painted lighters shoved into tiny cowboy-boot keychains to drunken tourists. While widely successful, one-to-one sales had their limitations, and she soon applied her county-fair hustle to an advertising career, starting in Toronto, then Vancouver, then Singapore; working on campaigns for more than 172 markets; and often being dispatched to Hong Kong and Bangkok. She returned to Montréal due to dengue fever and homesickness. And she did go back to school because her mom said she needed a degree. 

Albert Chan
founder/executive creative director

Albert Chan is founder and executive creative director of ad agency LUP in Jakarta, Indonesia. Chan began his career at Ogilvy Germany and worked as an art director at BBDO Group in Duesseldorf and HEIMAT in Berlin before relocating to Jakarta to work as a creative director at IRIS. He launched LUP in 2019. Growing up with Indonesian and German cultural backgrounds has helped him see things from many perspectives and points of view. Having won his first two Cannes Lions as a junior art director, Chan has continued to win many other national and international awards through today. 

Sandy Greenberg
cofounder/chief executive officer
Terri & Sandy

Sandy Greenberg is cofounder and chief executive officer of Terri & Sandy in New York, the ad agency she founded with her longtime creative partner Terri Meyer. After rising through the ranks at DMB&B, FCB and JWT, Greenberg and Meyer founded one of the industry’s few agencies that are both female-run and creatively run. Terri & Sandy began on Meyer’s dining room table and started winning pitches against agencies 100 times its size. It also won Ad Age’s “Small Agency of the Year” and was named Most Effective Independent Agency in North America by the Effie Awards. 

Marty Senn
chief creative officer/managing partner
Carmichael Lynch

Marty Senn is chief creative officer and a managing partner at ad agency Carmichael Lynch in Minneapolis. Since joining the agency in 2013, he has helped create innovative and award-winning work across the agency’s portfolio of brands. He has also seen the agency almost double in size. Before joining Carmichael Lynch, Senn worked in Boston, London, New York, San Francisco and Seattle on iconic brands, including Google, Jeep, Levi’s, the NBA, Ray-Ban and Time magazine. He’s married to Kimberly, a designer, and is the proud dad of two boys, Hugo and Freddie.

Ali Shabaz
chief creative officer
M&C Saatchi Group

Ali Shabaz is chief creative officer of ad agency M&C Saatchi Group in Singapore. One of Asia’s most highly awarded creative leaders with more than 25 years of experience in advertising in Southeast Asia and the Middle East, Shabaz has led many agencies to creative success, including BBDO, JWT, Grey Group, Publicis Group and RAPP MENA. Voted Adver-tising Professional of the Year by the Institute of Advertising Singapore and one of the top Creative Directors in Asia by Campaign Brief Asia, he has received awards from Cannes Lions, The Clios, D&AD, Effies, FWA awards, the One Show, Spikes and The Webbys.

Alvar Suñol
co-president/chief creative officer

Alvar Suñol is co-president and chief creative officer of ad agency alma in Miami, Florida. Born in Barcelona, Suñol has led creative departments at agencies in Europe, South America and the United States, earning major awards for clients along the way. Under his leadership, alma has become one of the most creatively awarded agencies in the country, both in mainstream and multicultural markets, earning 24 prestigious Cannes Lions and earning spots on the Ad Age A-List four times. Suñol was also named Creative of the Year at El Ojo de Iberoamérica in 2006, 2016, 2017 and 2020.

Morgan Tierney
managing partner/executive creative director

Morgan Tierney is a managing partner and executive creative director at Rethink, one of the world’s top independent ad agencies headquartered in Canada. She came to Rethink as an intern in the summer of 2012—and just never left. Born and raised in Vancouver, Canada, she paid unusually close attention to all the commercials during hockey games growing up and always believed deep down in her heart that she could do better. Her work has been recognized internationally by the Advertising Design Club of Canada, Applied Arts, Cannes Lions, Communication Arts, D&AD, Marketing magazine, the One Show and her mom Cindy.   

Tynesha Williams 
vice president/executive creative director

Tynesha Williams is vice president, executive creative director of ad agency 3AM in Los Angeles. She has long been committed to finding better ways for consumers to engage with brands and has helped craft award-winning campaigns for companies including Amazon, AT&T, Chevrolet, Coca-Cola, Doritos, Facebook, FX, Google, HBO, McDonald’s, MINI, Paramount and Starz. She has played in some of the industry’s biggest arenas, including Cannes and the Super Bowl with a number-three finish on the USA Today Ad Meter. Williams brings a diverse skill set that includes directing; screenwriting; and a short-lived, one-night-only, stand-up comedy career. 

Sherman Winfield
executive creative director

Sherman Winfield is executive creative director at ad agency VMLY&R in Atlanta. Prior to VMLY&R, he served as vice president, creative director at Fitzco. Winfield’s work has been recognized by the Art Director’s Club, Cannes, D&AD, LIA, New York Festivals, the One Show, Radio Mercury, the Shortys, the Webbys and numerous others. He’s also committed to helping build a far more diverse advertising landscape by actively participating in the AIGA Rise Up Mentorship Program and through his lead instructor role at the One Club’s ONE School. Most importantly, he adores spending time with his superhero wife, two amazing sons and puppy Coltrane.


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