From Cannes to D&AD, 2004 will be remembered as a year when regional creatives came home with more than just jetlag. They brought home serious metal from Cannes, which many see as the region's last major hurdle to making its mark on the global creative stage.
In many way, Cannes confirmed what has been evident at regional award shows. Thailand - with its tradition of telling simple yet endearing stories - shone in the TV category, although the Grand Prix eluded the region, while Singapore proved its print forte. The region as a whole showed how creative it can be outdoors, with J. Walter Thompson Malaysia bagging an outdoor Grand Prix. But it was in DM where Asia made perhaps its biggest strides as entries were elevated from last year's rational appeal to an emotional level.
In this year-end review, key regional agency talent offer their take of the year soon to past.
JOHN MERRIFIELD, chief creative officer, TBWA\Japan
Bastards. In this crazy business of ours, I can't think of a sweeter word nor higher compliment. Bastards. As much an expectoration as it is an utterance. Bastards. Perhaps the only bit of verbal naughtiness that's more pleasurable to receive than it is to give. In the unwritten lexicon of creative types (think goatees, insecurity, the colour black) the b-word is arguably the most coveted accolade of all. Encapsulating not just the envy of one's peers, but the realisation that the bar has been lifted beyond anything previously thought possible. Bastards. There's been a helluva lot of them in Asia in 2004.
First off there's those Aussie bastards from the Glue Society who trundled off with the direct Grand Prix at Cannes for their deliciously bent Virgin Mobile 'Warren' campaign. How can you possibly top lines like: 'Looking for a woman or similar ...'? You can't. Pack your bags and go home. (I had the distinct pleasure of watching them snatch 26 of the 106 gongs given out at AWARD, including a rare gold. And this after sitting with them at Cannes as they got up on stage for kisses and kudos and a Grand Prix statue thingee.) Double bloody merde down under Pommie bastards.
Then there's those Singaporean bastards from TBWA who seemed to walk off with metal of every description everywhere they went. They even had the chutzpah to win the best photography prize at AdFest for their sublime Sphere campaign. (If only we could reduce president shrub to 1/6th his smirk.) Jammy rock star throw us your knickers Aussie bastards.
Finally, there's those Thai bastards from BBDO with what I believe is the most remarkable television commercial of the year. (Hey, it's a subjective world and that's what's wonderful about it.) Unif 'Worms' floors me on all levels. The strategy, the idea, the craft, even the conceit of using Japanese voices on Thai televison. There is nothing, I mean nothing, I don't like about this film. Well, okay. There is one thing. I didn't do it. Bastards.
DAVID GUERRERO, chairman/ECD of BBDO/Guerrero Ortega
This was a year of outstanding recognition for Asia. Starting with the outdoor Grand Prix in Cannes - and prompting the immortal comment 'who do the Malaysians think they are' from one nameless advertising grandee. In the Gunn report, BBDO Bangkok achieved the well-deserved recognition of being the eighth best agency in the world. And the pages of the latest D&AD annual teem with entries from Media's coverage area.
But while there has been the odd grumble before, Asia is now facing something of a backlash on the 'pro-celebrity judging circuit.'
Consider the following two quotes. The first is from Michael Jansen, a juror at this year's D&AD: "The best Non-English Press work seemed to miss the genuiness of the top English pieces. Although there's always room for a bit of 'if-you-let-us-produce-this-idea-we'll-do-it-for-gratuito' work, the Non-English Press category will only attain the level of prestige of its English counterpart when enough 'genuine' work takes its top awards."
The second, from the inimitable Gerry Moira, is more to the point. Reviewing the annual in Campaign he writes: "Shouldn't someone have a quiet word with our brothers "from behind the Bamboo Curtain? I'm not saying all their ads are scams (although Google has a hard job finding some of those logo/URLs) but there is no doubt that the primary target of these campaigns is juries not punters, and that makes us all look vain and silly."
Ironically, of course, the big TV winners from Thailand ran on primetime and have Nielsen case studies to back up the results. Anti-smoking billboards from India caused a sensation on the streets and the Adidas 'Vertical Soccer' installation (my own personal 'wish I'd done that' selection) was featured worldwide on CNN.
One thing no one wants is this kind of talk leading to a return to the creative dark ages - where ads get judged by the width of the client's wallet. We do need more and more great ads that both change the creative marketplace and the mindset of our largest marketers. In other words, to keep convincing the toughest jury of all: our audience.
ROB SHERLOCK, regional CD, FCB Asia
I think 2004 has been defined by a number of creative realities:
The rapid creative acceleration of China and Malaysia. Both have excelled this year in terms of the standard of their work - and the rate with which it is improving. Having attended award shows in both countries during the past few months, it's evident that the passion alone is enough to catapult these markets into stardom. Singapore and Hong Kong will be hard pressed to maintain a similar momentum to their neighbours - and will inevitably one day be overtaken.
The creative potential of markets such as Indonesia and Philippines. There is no doubt that the major networks are investing in these areas in terms of people and expectations. I guarantee that next year's local award show in both countries will be akin to what happened in Malaysia and China this year. It's comparatively fallow ground waiting to be cultivated.
The stalling of India. The 'Country Most Likely To' is unfortunately losing the title to other markets. Don't get me wrong, there is still amazing ability and inertia in India, but this has not reached expectations in 2004.
The invincibility of Thailand. They are the self-made creative millionaires of Asia - and they did it their way. There's very little borrowed interest or imitations in this kingdom. And very little importation of talent. Quite honestly I think they're going from strength to strength.
The work. On the print and ambient side, Adidas 'Vertical Football' always stands out - very simple, and definitely not a scam, although I have heard it called a one hit wonder.
The Unif Green Tea 'Worm' from Thailand has to be the television winner. It's fresh, fun - and everything that makes Thai TV so wonderful.
TESS CAVEN, managing partner MEC WCSS
According to traditional demographic profiling, I should be very much sought after by a whole range of advertisers. I am educated, hold a senior position in a multinational company, travel frequently for business and leisure and have a small child to spoil and worry about.
Like "normal" consumers of this profile I am extremely time-poor, yet, unlike them I have a vested interest in noticing creative use of media. Why is it then that when asked to come up with 'why didn't we think of that?' examples (aside from our own work), I found myself at a loss? Even after asking many of my network colleagues, it has been a struggle.
In an effort to jog memories, we considered some of the big media trends of the moment to see if anyone else has responded to the challenges they pose. We were looking for relevant strategies and executions rooted in consumer, brand and media insights, not just clever stunts. Starting with the continuing growth and evolution of digital media, worrying few campaigns come to mind. With research showing that the rising penetration of broadband has a negative effect on time spent with TV and other media, there should be more investment, experimentation and 'wow' campaigns that spring instantly to mind.
Another trend is the growing investment in content creation and integration. Here there was more luck. Personally I think that the Duracell-funded Exploration series on BBC World is a great example of a powerful brand integrating itself into intelligent, compelling programming on a channel that holds a very strict line between church and state. On-screen graphics are subtle yet recognisable - it's just a shame that their 'bunny' ads bring down the tone.
A final trend to consider is the boom in outdoor opportunities. Finally we were a bit more inspired. In Singapore, the launch of Spiderman 2 saw an eye-catching use of a life-size 'Spidy' on the exterior of Orchard Cineleisure and the launch of Nike Speed also produced some break-through work. Nokia, always aiming to claim ownership of the future, placed a larger than life-size 3G phone playing video, weather reports and news clips on the screen in Causeway Bay, Hong Kong. But what about that campaign in Tokyo involving a giant schoolgirl straddling a train track? We have not been able to find out what it's selling, but it certainly has impact and memorability, if for the wrong reasons!
So what does this current dearth of originality or strategy say for the media industry in Asia? 2004 has seen many clients returning to brand investment and as this is still invariably powered by big expensive television commercials and print executions, these are not always campaigns that eager media creatives are allowed to 'tamper with'. It is certainly not for want of trying. Speak to any international media owner and they will tell you that every brief they receive now contains the dreaded instructions for 'big ideas' and ones that 'have never been done before'. Yet despite most companies' now staking claim to a 360 degree process of one form or another, few can actually generate relevant campaign ideas and platforms of their own and, equally as important, navigate them through to implementation.
This all said, we look forward to seeing some marvellous entries to Cannes 2005 (including our own for Singapore Airlines, DHL and Sony Ericsson to name a few!) and responses from indignant readers to prove us wrong!
ALICE LAM, CEO for Hong Kong/Asia Maxus
This year looks pretty rosy for Asia overall. This was not only reflected in strong ad revenue growth from important markets like China and India, it also demonstrated a high concentration of creativity and innovation.
One of the recent campaigns I enjoyed, which fuses media, PR, and event, is the Adidas 'Vertical Sprint' in Hong Kong and Osaka as part of the celebration of the Olympics. It cuts through, echoes the brand's 'Impossible is nothing' line, and fundamentally generates interest and fun as a programme.
It's worth remembering that it takes both media vendors and buyers to drive creative ideas such as these. Media vendors need to provide every opportunity to capture and address the ever fragmenting audiences.
There is an obvious expansion in outdoor ambient media. With home TV viewing declining across markets, you begin to find more TVs in the streets. Apart from building more mega TV screens in shopping arcades, buildings facing high-traffic busy cross-roads, you'll find TV networks in lifts or lift lobbies of office buildings, and chain stores acting as POS where consumers can interact and win discount coupons for immediate redemption.
Magazines have found a good environment to hatch more niche titles. Advertising and editorial have become so blurred that you have to make an effort to distinguish between them. In Taiwan, you can even sponsor "news".
The challenge going forward will be measuring what all these are worth.
VERTICAL FOOTBALL
Two abseiling footballers kicking a ball 12 storeys above ground as part of a Tokyo billboard for Adidas emerged as the third most-awarded piece of communications globally. This TBWA\Japan stunt elicited plenty of "wows" when it hit global headlines, not just from the man in the street, but Asia's leading creatives as well.
WORMS
BBDO Thailand underlines the country's inimitable ability to tell simple yet endearing stories with this tale of a baby caterpillar who follows his father up to the top of a tea stalk for the best leaves only to find that a tea leaf picker from Uni President's green tea brand had reached it first.
MISSILE CAR
This J. Walter Thompson Malaysia campaign for Channel 9's news programming stopped traffic in its tracks. The car with attached inflatable balloons looked like it was the target of a rocket attack. It picked up this year's outdoor Grand Prix at Cannes, underlining Malaysia's status as a market to watch.
VERTICAL SPRINT
Adidas returns with another vertical stunt, underlining its 'Impossible is nothing' mantra. This time it's a sprint up landmark buildings in Hong Kong and Osaka. Timed for the summer Olympics, the race reprised the game's glamour event, the 100m dash. Will it pick up another clutch of wins for its creators, TBWA and Carat?
SPHERE
The campaign for Sphere action figures first took home metal at Media's Asian Advertising Awards before going on to win the best photography prize at AdFest and other honours at this year's awards circuit. The series showed the actions toys running alongside storming marines and air assault teams.
NIKE
The brand's global 'Summer of Speed' campaign for its new athletic line-up featured a multimedia push in Asia, which ranged from TV to websites and ambient media, to communicate its new 'Speed' positioning. Ambient work provided breakthrough moments for the campaign.