Winners will be Announced
7th November

Judging has been Completed
All Shortlisted Entries can be viewed with Creative Credits


LIA judge Malcolm Poynton on his 3 favorite ads, and Cheil's recent hits

LAS VEGAS—Dove's "Campaign for Real Beauty" is one of those legendary campaigns that changed everything, not just for the Unilever brand but for the category and, indeed, the industry as a whole—helping to usher in an era when brands could be more honest about the artifice of messaging, and become more real and relevant to consumers. 

Malcolm Poynton, now global chief creative officer at Cheil Worldwide, was one of the key architects of the original "Real Beauty" work, a dozen years ago at Ogilvy London.

Adweek caught up with Malcolm in Las Vegas, where he was leading the Integration jury at LIA judging. We asked him about his three favorite ads of all time, and not surprisingly, the Dove work came up. 

Check out the video to hear from the New Zealander about the Dove legacy, as well as his other favorite ads, what he's excited about in the Cheil network (including some nifty product innovation), and how the LIA judging process went. 

Watch the full interview: http://adweek.it/2emI5iq 

Creativity is the Most Important Part of a Strategist’s Job

LBB Editorial 18 Oct 2016

Marco Hackmann, the only planner in the room at Creative LIAisons, tells Laurissa Levy why it’s been so useful to learn from the world’s top creatives

Last week we were immersed in the London International Awards’ Creative LIAisons event. The watchword being ‘creative’. But in among the 85 young creatives was one lone junior strategist – and he got just as much (if not more) insight from the experience. After all, the most powerful advertising work happens when creatives and planners can bounce off one another. When Photoshop and FinalCut Pro meets Power Point and Excel. Marco Hackman from Grabarz & Partner Werbeagentur looks back on the week and tells us about the power of ‘participative creativity’.

“Strategists have to inspire the creative. This is the most important part of a strategist’s job. We have to create the right brief that inspires the creative.”

After talking with various creatives from around the world last week at the London International Awards’ Creative LIAisons event in Las Vegas, this was the main take-away for Marco.

He went on to say how important the Creative LIAisons program is for strategists – and that he felt it very important that more strategists from around the world attend this program. “We are the people who write the brief for clients and award ideas. It is important for us to find the right and relevant insights. Sitting in the jury rooms during statue deliberations, we learned a lot of what the jury finds in these insights and what insights they want to see or hear.”

More and more strategists take part in the creative process in agency daily life and – crucially - more clients want to hear that they take part in the process. On top of that, Marco believes that strategists would like to work with the creatives more often.

For example, in Marco’s agency Grabarz & Partner Werbeagentur GmbH, a strategist, copywriter and art director often go into brainstorming sessions together – sessions they call ‘The Think Tank’. “These Think Tank sessions are very effective – and are more integrative,” he says. He describes connecting the various agency disciplines together in this way as ‘participative creativity’. It’s an approach to creativity that is becoming increasingly important. 

Moreover, at Marco’s agency, junior strategists can and often present to the client in the pitch stage, so listening to the talks at Creative LIAisons has been extremely beneficial since speakers like Doerte Spengler-Ahrens talked about delivering a winning pitch and the InnerVation Lab workshop put “presenting to clients” into practice.

Looking back at his personal highlights of the week, Marco recalls Ted Royer, CCO Droga5, saying that creative and strategy are not two separate entities – and that they should not operate siloed away from each other.

Marco noted that while creatives are able to go deeper after gaining perspectives from strategists, the same can be said of strategists learning from creatives. He says, “Strategists create charts and research and the creatives go for the headlines and print. This Think Tank idea also feeds into the co-create theme, which was a part of the InnerVation workshop at Creative LIAisons.”

2016 Jury Presidents

Martin Cedergren
Executive Creative Director &
Founding Partner
M&C Saatchi Stockholm
Mark Tutssel
Global Chief Creative Officer
Leo Burnett Worldwide
Creative Chairman
Publicis Communications
Branded Entertainment
Rob Reilly
Global Creative Chairman
McCann Worldgroup
Print • Poster • Billboard
Susan Credle
Global Chief Creative Officer
TV/Cinema/Online Film
Stephan Vogel
Chief Creative Officer
Ogilvy & Mather Advertising Germany
Malcolm Poynton
Global Chief Creative Officer
Cheil Worldwide

Verbal Identity
Chris West
Managing Director
Verbal Identity Ltd.
Design and Package Design
Pum Lefebure
Co-Founder & CCO
Design Army
Emad Tahtouh
Director, Applied Technology
Music Video and
Production & Post-Production
Diane Jackson
Chief Production Officer
DDB Chicago
Music & Sound
Sander van Maarschalkerweerd
Founder / Managing Director
Sizzer Amsterdam
Radio & Audio
Paul Wauters
Co-Founder / ECD


2016 Speaker Schedule:

Tuesday October 11th

   Chris West and Panel - Managing Director, Verbal Identity Ltd.

   Chris Smith - Group Creative Director, The Richards Group

   Bob Isherwood - Chairman of the Global Creative Council, INNOCEAN

   Ted Royer - Chief Creative Officer, Droga5

   Matt Eastwood - Worldwide Chief Creative Officer, J. Walter Thompson

   Dinner Party with the Juries, Speakers and Attendees at Surrender at Wynn Las Vegas


Wednesday October 12th

Mark Tutssel - Global Chief Creative Officer, Leo Burnett Worldwide and Creative Chairman, Publicis Communications

Ralph van Dijk - Founder and Creative Director, Eardrum

Malcolm Poynton - Global Chief Creative Officer, Cheil Worldwide

Doerte Spengler-Ahrens - Chief Creative Officer, Jung von Matt Elbe

Taras Wayner - EVP / Executive Creative Director U.S., R/GA

Pum Lefebure - Co-Founder / Chief Creative Officer, Design Army


Thursday October 13th

InnerVation Lab  - A One-Day Workshop on Lessons from Expert Entrepreneurs
Learn to think like an expert entrepreneur and practice what you have learned.
InnerVation Lab is bringing Kevin Harrington and Daymond John to Creative LIAisons 2016.



Annually, LIA hosts young creatives from around the globe in Las Vegas to be part of their fully-funded Creative LIAisons program. This initiative runs simultaneously with judging and aims to bring the best young creatives together to learn, get inspired and discuss the future of the industry.

7 things I heard in Vegas that will definitely not be staying in Vegas
By Mariam Guessous

DigitasLBi: London, Paris, Boston and New York

Las Vegas is a city of high action. Slot machine sounds everywhere, music pumping from all corners, larger than life architecture—when you visit Las Vegas, you should be ready for anything. And boy, we were definitely not ready for this. But action… we definitely got.

In 5 days, we had about: 26 hours of seminars. 30 hours of lively discussions and debates. 8 straight hours of judging sessions. And probably about 10 hours of sleep total.

This doesn’t include the few hours of gambling sprinkled here and there, because well… when you’re in Vegas you might as well play a few hands, right? Right.

This city is so intense, it sucks up all you’ve got. Your energy. Your stamina. Your beauty sleep. And sometimes, even your money. Lucky for me, I won a few dollars and I got to experience a very inspiring and energizing Las Vegas—except for the beauty sleep part…

The week was filled with inspiring moments, amazing people, some unavoidable debauchery and lots of inspiration. What happens in Vegas stays in Vegas…but for the sake of sharing, please allow me to share with you 7 (lucky) moments and quotes I will take with me for the rest of my career.

1- When Ralph Van Dijk (Founding Creative Director, Eardrum) told us something so obvious, it blew our minds: “If you have more than ONE message, make more than ONE ad.”

This is a great rule of thumb. Why should we bombard our audience with multiple messages at once? Chances are, if we try to say too much too soon, we completely lose them, so it’s best to focus on one message at a time…duh.

2- When Chris Smith (Group Creative Director, The Richards Group) shared his secret to selling ideas: “If you want to sell anything to anyone, make them think it’s their idea.”

This trick is particularly useful when selling ideas to clients. Involving them early in the creative process will definitely improve our chances of selling the idea we want, and with the least amount of revisions. Tell me one creative that doesn’t want that! Thanks for the tip Chris.

3- When Pum Lefebure (Co-Founder/CCO, Design Army) reminded us that: “The notion of PLAY is something you should never lose as a creative.”

All creatives want to play. Actually, all humans want to play. But with technology distracting us all day and deadlines getting tighter and tighter, we tend to go full force at the office and forget to take a breath, relax, smile and play. After all, we are hired for our ideas, and no good idea can come from an agitated and stressed mind. Play is an integral part of what we do. Let’s not lose that, she said. Amen, Pum. Amen.

4- When Ted Royer (CCO, Droga5) insisted that empathy is everything. He said: “You can’t be a great creative without having empathy for the people you talk to. The more you care, the better creative you are.”

The best thing I heard all week! I think empathy is extremely important in our industry, as we have a huge responsibility to spread our clients’ messages to the general public. We shape culture. We shape brands. We are the link between brands and the people—that’s why we have to care, a lot.

5- When judges didn’t fall for it: “This is a beautifully shot case study video” they said, “but where the hell is the idea?”

As I was listening to judges debating whether an idea should win an award or not, it suddenly hit me: nothing has changed in our industry in decades! The most important thing is still the idea and the insight. Period. No amount of data can save your idea. You can’t hide an idea behind a nicely shot case study video. And judges have a very good BS meter. If there’s one thing I took away from this experience, it’s this: If your idea is not based on an insight, and if it doesn’t make an impact, it’s not worth submitting to any award. It’s that simple. And that hard.

6- When John Merrifield (CCO, Google Asia-Pacific) dropped this truth on all of us: “The impact is so much more important than the awards.”

I was surprised and delighted to see that most young creatives I spoke with over the week simply don’t care about awards. Not because winning awards is not fun. Not because winning awards is not exciting or important. But because most of us were pretty tired of having our ideas measured by the awards they received. An idea should be measured by its impact. Was it relevant and useful to the audience? Did it help people? Did it sell products? Did it help build an honest brand? If we manage to make this kind of impact, awards will always come. #Believe #AwardsAreComing

7- When Amir Kassaei (Worldwide CCO, DDB Worldwide) got very real with us and gave a speech we’ll dream about for years to come: “Be a great human being, and stop the bullshit. Do this, or DIE.”

Amir delivered the most emotional speech we’ve heard all week. As someone who recently experienced an unfortunate brand catastrophe with his client Volkswagen, he showed us how one can be passionate about a brand and how we can keep pushing a brand forward no matter what happens—it’s our duty. Save the industry, he said. Stop the bullshit. Be great human beings. And reinvent the industry. He said that we all have a huge responsibility to shape the future of this industry. We have the responsibility to change things for the better. And if we don’t do this, we will die as creatives, and so will this industry.

In a room full of passionately desperate young creatives, this is exactly what we needed to hear before we head back to work and begin the journey to make this industry the best it can be.

Thank you LIA. Thank you DigitasLBi. Thank you Las Vegas. All 100 of us went back to our agencies inspired, re-energized and feeling like we just won the jackpot. Of course some of us did win (a small) jackpot.


Why Production & Post-Production Companies Need to Enter Their Own Work

Enter LIA and Get the Recognition You Deserve

When entering awards, production companies, post-production houses, editing facilities and music and sound companies are under the belief that if an agency enters their work, there is no reason for them to enter the work as well. 
It may make some practical sense in theory – no need to duplicate an entry into LIA, right? 

The world of advertising awards was built around celebrating the idea, not the execution. But today the way in which ads are made is so advanced, and the ideas so reliant upon creating the impossible, it takes many individual skills and expertise to make each campaign a reality.

“When agencies enter LIA, they don’t necessarily enter work into the categories from which production companies, post-production houses, editing facilities and music and sound companies would most benefit, instead choosing product and service categories that aren’t judged at all for the craft or specific technique,” explains Barbara Levy, President of London International Awards. “What these companies might not even be aware of is that LIA has two completely separate Juries, one for Production, Post-Production and Music Videos and a separate jury for Music and Sound. These juries are made up of the world’s best production and post-production executives, from top executive producers and directors to agency heads of TV, chief production officers and music and sound designers and composers.”

So, why should production and post-production companies bother to enter their own work into LIA? Laura Gregory, Founder of Great Guns and past LIA juror stated, “The quality of [LIA’s] world-class juries who give their time and passion to this work is staggering. It would be smart to enter so those judges are aware of the work. A craft entry is exactly what it says on the tine – craft, judged by craft.”

“LIA recognises creativity in all forms, celebrating skill and artistry across all disciplines,” adds Neil Davies, ECD at The Mill. “To be acknowledged by peers is an award in itself, but it’s about the teams who work so hard on projects being recognised for their achievements. For us at The Mill, an award is testament to the team's restless pursuit of brilliance, and keeps us pushing to make every job better than the last.”


Barbara adds, “So much work goes into making these great ideas a reality, we have a duty to honour the craft. We wish to make sure those involved in the craft are acknowledged. Agencies are not mandated to input creative credits and most only input credits that pertain to the agency.”

“If production and post-production companies want to bring home, in the words of Ogilvy Germany’s Stephan Vogel, ‘one of the most spectacular and most prestigious statues you can ever have on your shelf,’ it’s up to them to enter the work they created.”



Stand in one of the world’s great galleries and watch.

Someone walks in, and they stop. Entranced. Maybe it’s some huge Velázquez. Slowly, it draws them across the room. They keep walking, near enough to touch now, separated from this masterpiece of colour and composition and light and depth by only a flimsy rope. They pause, lean their head in. Then their head moves to the right. Off the Velázquez. So they can read what some curator has written about it.

Watch someone on a train reading a paper with your new full-page ad in it. They come to your page. Glance at it for 1/16th of a second to check whether it’s interesting, relevant, simple. It is. Their eyes flicker, taking in the great visual. Then their eyes flick down. To start reading the copy.

You walk into your living room and find your partner gently weeping at the new Christmas TV spot.  There’s one minute, 56 seconds of soft story, accompanied by a breathy cover of an 80s track. No word need be spoken. Until the last 2 seconds when the strapline lands with an emotional wallop.

In a high-end department store, a woman stops by a new range of cosmetics, her eyes scanning a new brand’s packaging. She reaches out, grabs it. Then turns the box around and reads what the brand has to say about itself.

Visuals attract, verbals engage.

This year, the LIA recognises the importance of language in communication with a new stand-alone jury dedicated to verbal identity. In naming, tone of voice, straplines and copy. This year, brand language speaks for itself.

Chris West
Verbal Identity Jury President

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