New for 2017

LIA Introduces Health & Pharma
Chaired by Jeremy Perrott of McCann Health

Health & Pharma will be judged by
two separate juries in October in Las Vegas


Entry System Opens mid-March

2017 Jury Presidents

Music Video and
Production & Post-Production
Michael Ritchie
Managing Director / Executive Producer
Revolver/Will O'Rourke
Design • Package Design • Verbal Identity
Bobby C. Martin Jr.
Founding Partner
OCD | The Original Champions of Design
Per Pedersen
Chairman Of Global Creative Council
Grey Global
Health & Pharma
Jeremy Perrott
Global Chief Creative Officer
McCann Health
Music & Sound
Abi Leland
Company Director
Leland Music
Mark Tutssel
Global Chief Creative Officer
Leo Burnett Worldwide
Creative Chairman
Publicis Communications

Print • Poster • Billboard
David Guerrero
Creative Chairman
BBDO Guerrero
Radio & Audio
Larissa Kirschner
V.P. / Creative Director / Writer
Publicis New York

Video Interviews

2016 Of The Year Awards
  • Network of the Year
  • agency of the year
  • production company of the year
  • Post-Production Company of the Year
  • radio & audio company of the Year
  • Music & Sound Company of the Year

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.”

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.”



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