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EuropeanCreativity Report 2018

Contents

Foreword

THE SPECIAL AWARDSNetwork of the YearAgency of the YearIndependent Agency of the YearMedia Network of the YearEurobest Golden PalmCountry Agency of the Year

THE WINNERS EXPL AINED(BY JURY PRESIDENT)

Brand Experience & Activation (Laurence Thompson)Creative Data (Tracey Follows)Creative Effectiveness (Lucy Jameson)Design (Katrin Oeding)Digital (Wesley ter Haar)Digital Craft (Wesley ter Haar)Direct (Laurence Thompson)Entertainment (Louise Johnson)Film (Kate Stanners)Film Craft (Sandrine Huijgen Le Goff)Glass (Kate Stanners)Grand Prix For Good (Laurence Thompson)Healthcare (Tom Richards)Innovation (Tracey Follows)Integrated (Laurence Thompson)Media (Dan Hagen) Mobile (Wesley ter Haar)Outdoor (Allan Kelley)PR (Mattias Ronge)Print & Outdoor Craft (Katrin Oeding)Print & Publishing (Kate Stanners)Radio & Audio (Alan Kelly)

THEMES & TRENDS FROM THE WINNING WORK

METHODOLOY

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EUROPEAN CREATIVIT Y REPORT 2018

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A Message from eurobestFOREWORD

Eurobest has been recognising and rewarding the best of creativity from across Europe since 1988. 30 years have seen huge changes. In fact, the history of Europe is defined by change, and so is the complicated and fast-moving present – much like the industry itself, which we now see in a state of almost constant evolution.

Each year, our expert juries come together to find common ground in their quest to reward great ideas from this dynamic continent. The eurobest juries represent all parts of Europe and an ever-broadening definition of creativity.

They bring insights into cultural nuance and local values, as well as experience from their respective fields – using all of this to find work that represents Europe at its most creative. They’re motivated by the understanding that creativity can drive both business and positive change, inspiring across generations and borders.

We hope you enjoy exploring the work as much as we did.

Louise BensonVP Festivals

In 2018, once again, we saw creativity showcased as a powerful commercial tool, with many of our winners demonstrating business results that simply couldn’t be argued with. Entries this year represented a new breed of work – work that transcends the medium, enhances lives and seeks to create or enter culture in a way that really drives business. It’s now clear that investing in creativity is a business imperative.

eurobest also represents a tangible way to measure performance: a barometer of the most exceptional work in Europe and an exercise in personal benchmarking. We’re committed to finding the best in creative class, and honouring their output. And we believe that awarded work is a reflection of what our brightest minds are producing today, as well as a window into what’s to come tomorrow.

The inaugural European Creativity Report spotlights this year’s winning and shortlisted work, offering definitive rankings, jury insight, takeaways from the 2018 awards and analysis of key industry trends. It’s both a celebration and a tool for raising your own creative bar.

Congratulations to everyone who won or was shortlisted this year.

Simon CookVP Creative Excellence

Another year, another diverse body of work for our juries to absorb, dissect and wrangle over.

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Network of the YearTHE SPECIAL AWARDS

Network of the Year is awarded to the network whose member companies obtain the most points for winning and shortlisted entries.

Publicis Worldwide took home 34 awards in total this year. Big wins for the network included ‘La Forêt – Bet on a Murderer’ which won the Grand Prix in both Direct and Entertainment, and ‘Black Supermarket’ which won the Grand Prix in Healthcare, as well as in the inaugural Brand Experience & Activation award.

Publicis Worldwide pushed last year’s winner, DDB Worldwide, down to second place.

In third place, McCann Worldgroup made a strong showing, but slipped slightly from their second place position in 2016 and 2017.

DDB Worldwide also amassed 34 awards including the Creative Effectiveness Grand Prix.

McCann Worldgroup won 31 awards, including the coveted Grand Prix for Good.

Publicis Worldwide claim their title as Network of the Year 2018

“We are incredibly proud that Publicis Worldwide has been awarded Network of the Year by eurobest. This is testament to our commitment to producing effective creativity for major brands around the network. I would like to thank our brave clients and talented teams who have contributed to the work that has achieved this recognition. ”

Bruno BertelliGlobal CCO, Publicis Worldwide

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Network of the YearTHE SPECIAL AWARDS

20182018 Rank Agency

1. PUBLICIS WORLDWIDE

2. DDB WORLDWIDE

3. McCANN WORLDGROUP

4. BBDO WORLDWIDE

5. havas

6. CHEIL WORLDWIDE

7. TBWA WORLDWIDE

8. SERVICEPLAN AGENTURGRUPPE

9. FCB

10. THE NORTH ALLIANCE

2017 Rank Agency

1. DDB WORLDWIDE


3. havas

2016 Rank Agency

1. DDB WORLDWIDE


3. BBDO WORLDWIDE

2015 Rank Agency

1. DDB WORLDWIDE

2. BBDO WORLDWIDE

3. HAVAS CREATIVE GROUP

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Agency of the YearTHE SPECIAL AWARDS

Agency of the Year goes to the agency that obtains the most points for winning and shortlisted entries across all of the awards.

Rothco | Accenture Interactive, Dublin’s big winning campaign ‘JFK Unsilenced’ for The Times/News UK & Ireland – awarded three Grands Prix – made sure they rose through the rankings, taking the top spot for the first time in their history.

This is also the first time an agency from Ireland has won a Special Award at eurobest, as well as the first win for an agency from the Accenture Interactive network.

Taking second place was Publicis Conseil, Paris, in a particularly strong year for the agency.

AMV BBDO, London secured the number three spot, rising significantly from their position last year.

“Rothco | Accenture Interactive have had a whirlwind year, and to top it all off with eurobest Agency of the Year is a fantastic way for us to end.”

Jill ByrneDirector of Marketing

“To win Agency of the Year as Rothco | Accenture Interactive is a wonderful moment for all of us. It’s been a great 2018 made even more special by this fantastic award.”

Patrick HickeyCEO

Rothco | Accenture Interactive, Dublin take the top spot for 2018

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Agency of the YearTHE SPECIAL AWARDS

2018 Rank Agency City Country

1. ROTHCO | ACCENTURE INTERACTIVE Dublin Ireland

2. PUBLICIS CONSEIL Paris France

3. AMV BBDO London United Kingdom

4. MARCEL Paris France

5. DDB DÜSSELDORF Dusseldorf Germany

6. McCANN LONDON London United Kingdom

7. DDB PARIS Paris France

8. McCANN BUCHAREST Bucharest Romania

9. adam&eveDDB London United Kingdom

10. PUBLICIS ITALY Milan Italy


1. INGO Stockholm Sweden

2. DDB GROUP GERMANY Berlin Germany


4. MCCANN LONDON London United Kingdom

5. JUNG VON MATT Hamburg Germany



2. BETC Paris France

3. &CO Copenhagen Denmark


5. FORSMAN & BODENFORS Gothenburg Sweden



2. FORSMAN & BODENFORS Gothenburg Sweden

3. BBDO GROUP GERMANY Berlin Germany

4. DDB SPAIN Madrid Spain

5. MCCANN ERICKSON Bucharest Romania

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Independent Agency of the YearTHE SPECIAL AWARDS

The winner of Independent Agency of the Year is the independent agency that obtains the most points for winning and shortlisted entries.

2018 saw Try, Oslo top the leader board. In first place, this was a significant rise from their fourth place position in 2016 and 2017. ‘The Animals’ Own Emergency Number’ for DNB Animal Insurance was their big winner, awarded a Grand Prix, two Silvers and a Bronze.

Jung von Matt/Limmat, Zurich take second place, continuing a trend – an agency from the Jung von Matt network have been represented in the top five since 2015.

Herezie, Paris took the number three spot, a significant rise in the ranks, while Serviceplan, Munich had another strong year, coming in at fourth place.

A winning year for Try, Oslo

“Independent Agency of the Year is a great achievement for the whole agency, and a result of many people working hard over time. Try has a quite nerdy focus on creativity as the best tool for effect, and I guess this award tells us we did pretty good this year.”

Lars Joachim Grimstad and Øystein HalvorsenExecutive Creative Directors

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Independent Agency of the YearTHE SPECIAL AWARDS


1. TRY Oslo Norway

2. JUNG VON MATT/LIMMAT Zürich Switzerland

3. HEREZIE Paris France

4. SERVICEPLAN GERMANY Munich Germany

5. WIEDEN+KENNEDY AMSTERDAM Amsterdam The Netherlands

6. BBC CREATIVE London United Kingdom

7. ABBY PRIEST Stockholm Sweden

8. ANTONI Berlin Germany

9. GRABARZ & PARTNER Hamburg Germany

10. N=5 Amsterdam The Netherlands




3. N=5 Amsterdam The Netherlands

4. TRY Oslo Norway

5. SERVICEPLAN Munich Germany





4. TRY Oslo Norway

5. FRED & FARID PARIS Paris France


1. FORSMAN & BODENFORS Gothenurg Sweden


3. GRABARZ & PARTNERS Hamburg Germany

4. GARBERGS Stockholm Sweden

5. TRY/APT/POL Oslo Norway

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Media Network of the YearTHE SPECIAL AWARDS

The Media Network of the Year is the media network whose member companies obtain the most points for winning and shortlisted entries in the Media Awards.

PHD Worldwide takes the title, the first time an Omnicom Media network has won this award at eurobest.

Taking the second spot for Media Network of the Year 2018 was Carat, moving up from fourth place last year.

Havas Media Group moved up the rankings from 2017, taking third place.

PHD Worldwide take pole position

“Being named Media Network of the Year at eurobest reflects PHD’s commitment to innovation and creativity, which ultimately delivers results for clients. We’re delighted to already be winning awards for the work we are doing with more recent clients like Volkswagen and we look forward to raising the bar even more next year.”

Mike CooperWorldwide CEO

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2018 Rank Media Network

1. PHD WORLDWIDE

2. CARAT

3. HAVAS MEDIA GROUP

4. MINDSHARE

5. VIZEUM

6. MEDIACOM

=7 INITIATIVE

=7 ZENITH

=7 UM

2017 Rank Media Network

1. MEC

2. VIZEUM

3. UM

4. CARAT

5. MINDSHARE

Media Network of the YearTHE SPECIAL AWARDS

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eurobest Golden PalmTHE SPECIAL AWARDS

The eurobest Golden Palm Award honours the production company that obtains the most points overall for entries in the Digital Craft, Entertainment (Section A), Film, Film Craft, Mobile and Digital eurobest Awards, as well as Branded Content, Digital, Digital Craft, Film, Film Craft and Mobile Mediums in the eurobest Healthcare Awards.

BlinkInk, UK claim the title for the first time as the Golden Palm winners for 2018, beating Spain’s Blur Films and Henry, France who took second and third place.

Winning campaigns for BlinkInk include the Film Grand Prix-winning ‘Supporting Act’ and ‘World Cup – History Will Be Made’, both for BBC One.

BlinkInk, UK take the top spot

“It’s an honour to be recognised, especially amidst such impressive competition. Thank you eurobest. What a way to end the year.”

Bart YatesExecutive Producer / Partner

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THE SPECIAL AWARDS

2018 Rank Company Country

1. BLINKINK United Kingdom

2. BLUR FILMS Spain

3. HENRY France

4. FILMMASTER Italy

5. PRODIGIOUS France

6. WANDA PRODUCTIONS France

7. ACADEMY FILMS United Kingdom

8. SIZZER AMSTERDAM The Netherlands

9. SCHMOOZE France

10. BACON Denmark


1. MAKE ME PULSE France

2. &CO PRODUCTIONS Denmark

3. NEW LAND Sweden

4. TANGRYSTAN Norway

5. MPC United Kingdom


1. SONNY United Kingdom

2. BLINK PRODUCTIONS USA

3. O POSITIVE United Kingdom

4. STINK United Kingdom

5. TEMPOMEDIA Germany


1. BLINK PRODUCTIONS United Kingdom

2. PULSE FILMS United Kingdom

3. SOMESUCH United Kingdom

4. MEDS EN BASKETS France

5. ROGUE United Kingdom

eurobest Golden Palm

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Country Agency of the YearTHE SPECIAL AWARDS

The Country Agency of the Year Award is given to the agency from an individual country that obtains the most points for winning and shortlisted entries in eurobest. Companies credited in the Idea Creation role will get points towards Country Agency of The Year Award.

For a country to qualify for Country Agency of the Year there must be a minimum of five different entrant companies from that country.

For an agency to qualify to be awarded or placed in Country Agency of the Year, they must obtain a minimum of 15 points as calculated in accordance with the eurobest points system.

Country Agency

BELGIUM HAPPINESS BRUSSELS, AN FCB ALLIANCE, Brussels

CZECH REPUBLIC GEOMETRY GLOBAL, Prague

DENMARK &CO, Copenhagen

FINLAND TBWA\HELSINKI, Helsinki

FRANCE PUBLICIS CONSEIL, Paris

GERMANY DDB DÜSSELDORF, Düsseldorf

ITALY PUBLICIS ITALY, Milan

NORWAY TRY, Oslo

ROMANIA McCANN BUCHAREST, Bucharest

SPAIN CHEIL WORLDWIDE, Madrid

SWEDEN ABBY PRIEST, Stockholm

SWITZERLAND JUNG VON MATT/LIMMAT, Zürich

THE NETHERLANDS WIEDEN+KENNEDY AMSTERDAM, Amsterdam

UNITED KINGDOM AMV BBDO, London

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THE WINNERS EXPL AINED

The Winners Explained

eurobest awards exceptional ideas: winning work represents the most powerful campaigns in the region. But before there are winners, there’s judging.

And the judging process isn’t simple. Each year we invite a careful selection of Europe’s most discerning industry leaders to decide which pieces of work are award-winningly exceptional. Animated debate inside the jury room leads to an eventual decision. In a year filled with non-traditional campaigns, meaningful innovations and work dedicated to advancing social purpose, selecting our winners was particularly difficult.

The work that was ultimately awarded a coveted Grand Prix stood out to our juries as hugely, unavoidably important. Frequently, this was work that showed clear, inarguable evidence of its effectiveness – campaigns that proved creativity’s power to impact business results in a very real and tangible way.

We hear from this year’s Presidents – the people who led the 2018 juries in their selection – on why the Grand Prix winning work in their category was awarded, their top takeaways from eurobest 2018 and what really goes on inside the jury room.

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Brand Experience & Activation

The Grand Prix It’s rare that you see an idea that really changes the game. This courageous idea demanded a very brave client. The bravery of the client and relationship with the agency must be celebrated.

‘BLACK SUPERMARKET’ for CARREFOUR by MARCEL, Paris

GOLD

‘SAVE OUR SPECIES’ for LACOSTE by BETC, Paris

GOLD

‘GO WITH THE FAKE’ for DIESEL by PUBLICIS ITALY, Milan

Top takeaways

Ideas as currencyIn our industry, the main currency is ideas. We trade on ideas, thrive on them, play with them until we’re satisfied and the client is happy. We’re paying our way with ideas and it’s so rewarding to see confident ideas being led by the bigger brands out there.

Disruptive approaches There’s a misnomer that independent smaller brands are the braver ones, but that’s just not the case anymore. Being safe just can’t cut the mustard – not with consumers. We’re seeing brands adopt disruptive and spikey approaches to their messaging and when that meets seamlessly with purpose, then you’ve got the secret sauce. And it tastes great.

Inside the jury roomWe came to the table with a sense of impartiality, open minds and dedication to recognising and giving credit to the best work out there. It’s true that everyone has an opinion, but these judges have been carefully selected for their expertise, their experience, their penchant for fairness and ability to see beyond any frills and fanfare and look deeper into uncovering the impact and effectiveness of a campaign.

“We’re seeing brands adopt disruptive and spikey approaches to their messaging and when that meets seamlessly with purpose, then you’ve got the secret sauce” Laurence ThompsonCo-President & Chief Creative Officer, McCann London

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Creative Data

The Grand Prix We awarded ‘JFK Unsilenced’ because we had never seen data presented in such an emotional and inspiring way. We appreciated both the unique way in which the data had been collected and the uniqueness of the end result – a spine-tingling inspirational speech by JFK that no-one in the world had ever heard before. One that no-one ever would have heard, had it not been for the curiosity and tenacity of the team responsible.

‘JFK UNSILENCED’ for THE TIMES/NEWS UK & IRELAND by ROTHCO | ACCENTURE INTERACTIVE, Dublin

GOLD

‘BLINDMETERS’ for OVK / PEVR by HAPPINESS BRUSSELS, AN FCB ALLIANCE, Brussels

Top takeaways

Meaningful translations of dataWe saw a lot of work using voice or speech data. It seems that agencies and clients are starting to get to grips with using biometric data, not just behavioural data to create innovation or communication. There were also strong entries in the data visualisation sub-category which points towards a new understanding that data needs to be translated in more creative ways for more meaningful, better communication with consumers.

InnovationGoogle’s ‘Dot’ was the most interesting to most people, purely because it is such a far-reaching innovation and a solution to a real-world problem. We also awarded ‘Block Wish’ highly. We felt that it really is so challenging to embark on a commercial innovation in the retail world – they had done exceptionally well, not just getting the initiative off the ground initially but improving it over 2016, 2017, 2018 and beyond.

“A new understanding that data needs to be translated in more creative way for more meaningful, better communication with consumers” Tracey FollowsFounder, Futuremade UK

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Creative Effectiveness

The Grand Prix ‘Give the Rainbow’ demonstrated the ways in which we can create marketing innovation, not just advertising. They gave away the Skittles rainbow, creating a pure white pack and product, to support Pride. We loved the way this created a new occasion for the brand, driving up sales without requiring huge investment. It demonstrated that our creativity doesn’t always require millions of pounds or an epic TV ad to drive real rewards. We liked the partnership with a retailer and the test and learn approach. Finally, it was a great model for showing how brands can get involved in bigger cultural issues, without over-reaching.

‘GIVE THE RAINBOW’ for SKITTLES by Adam&Eve/DDB

CREATIVE EFFECTIVENESS AWARD

‘BUSTER THE BOXER’ for JOHN LEWIS by adam&eveDDB, London

CREATIVE EFFECTIVENESS AWARD

‘NO MORE EXCUSES’ for HEINEKEN by PUBLICIS ITALY, Milan

Top takeaways

Proving ROIIt was great to see most of the entries attempting to isolate ROI, rather than just focusing on intermediate measures such as likes, awareness or engagement. That’s a critical step for our industry. We have to prove the business impact of our work if we want to be paid fairly for what we do.

Mass personalisationIt was great to see entries which showcased real innovation. For example, we loved the Heineken/Jose Mourinho ‘No More Excuses’, leveraging their sponsorship of UEFA Champions League across over 100 markets. It was one of the first pieces of work we’d seen which showed the value of ‘mass personalisation’. They created over 1000 pieces of ‘No More Excuses’ content, each one relevant to a different context. And they looked at its global impact, which is notoriously difficult and complex.

Inside the jury roomWe saw brilliant, creative ideas which can turn around the fortunes of a business. Innovations which show how much further the industry can go if we apply our creativity more broadly. Well-argued cases which show the rigour of our industry and its financial impact.

And, with Brexit on the horizon, it’s hard not to worry about the future of London as a hub for creativity and advertising. So, eurobest feels more important than ever. It’s a wonderful opportunity to look outwards and upwards.

“It was a great model for showing how brands can get involved in bigger cultural issues, without over-reaching” Lucy JamesonFounder, Uncommon UK

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Design

The Grand Prix It’s magnificent, a masterpiece of brand. Solid and reduced to the core idea. An analogue product goes digital.

‘MERCEDES-BENZ G-CLASS – THE AMBER CUBE’ for MERCEDES-BENZ by ANTONI, Berlin

GOLD

‘FREE DEMOCRATS “MADE OF DEFEAT – A PHOTOGRAPHIC TALE.”’ for FREE DEMOCRATS by HEIMAT, Berlin

GOLD

’HITLER HASHTAG’ for GESICHT ZEIGEN! by OGILVY GERMANY, Frankfurt

Top takeaways

Brand purpose and truth-tellingThe consumer is constantly searching for purpose. But for many brands, purpose is undefined. Consumers are now looking to brands for a clear attitude and more awareness of what is really important in life. Once a brand has found those central values, they can be expressed in several ways. So, for example, sustainability projects and brands are very popular at the moment. Design is the translator for the brand and its communication; purpose and attitude set the triggers.

“Design is the translator for the brand and its communication” Katrin OedingChief Creative Officer & Creative Director, Studio Oeding Germany

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Digital

The Grand Prix The winner is a clear reflection of the new definition of Digital. A thorough, fun and charming integrated campaign that also happens to tackle cultural appropriation and do good in the world by combining conversation with commerce.

‘BIHOR COUTURE’ for BEAU MONDE by McCANN BUCHAREST

GOLD

‘DOGS FOR DOGS’ for PEDIGREE by CLM BBDO, Paris

GOLD

‘THE UNCENSORED PLAYLIST’ for REPORTERS WITHOUT BORDERS by DDB, Berlin

Top takeaways

The new digital: understanding user behavioursMore so now than ever, we can see that Digital is a reflection of work that would have previously appeared in other categories. That can make it difficult for the jury – now that almost everything is distributed through digital, the distinction is difficult to keep. It’s no longer the “classic” digital interactive piece that represents work in this category. It’s content, PR and integrated work that uses the distribution channels available and harnesses user behaviours – these are the truly digital cases.

The work here is as diverse as it’s ever been, from Instagram content pieces to interactive and real-time VR. It’s a broad category, but the work that was awarded was smart about native user behaviour, and smart about the spread and scale of the campaign across platforms and through PR.

“It’s content, PR and integrated work that uses the distribution channels available and harnesses user behaviours – these are the truly digital cases” Wesley ter HaarFounder / Chief Operating Officer, MediaMonks

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Digital Craft

The Grand Prix Great craft takes time, and for the Grand Prix winner – months and months of painstaking production and R&D to bring to life a moment that is lost to history (now available to us again because someone decided it should be). A mix of creative ambition and craft quality coming together to make for a stand-out project.


GOLD

‘THE GALLERY OF EMERGING SPECIES’ for HASBRO by DDB PARIS

Top takeaways

Craft that resonates: polished executionIn Craft this year, it was all about the joy of seeing something that had had the time to breathe, where production got the space to polish and push for that extra mile. In this category, it’s often the intangibles that make a piece of work resonate.

In the end this comes back to a key question: Could it have been done better? Not the idea, not the concept, but the execution. Is it a bar for others to jump, or was there a better version of this possible?

“It’s often the intangibles that make a piece of work resonate” Wesley ter HaarFounder / Chief Operating Officer, MediaMonks

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Direct

“Our industry’s currency is ideas” Laurence ThompsonCo-President & Chief Creative Officer, McCann London

The Grand Prix This was an excellent tie up with a betting platform. This entry took a human insight and turned it into something tangible and innovative as a way of reaching a new audience. A direct response to a digital platform which then drove the huge audience numbers and a spike in fame. When the client, France 3, is up against the likes of Netflix, to launch a new programme on a digital platform is tough – this is ground-breaking, innovative and new, something we haven’t seen before.

‘LA FORÊT - BET ON A MURDERER’ for FRANCE TÉLÉVISIONS - FRANCE 3 by PUBLICIS CONSEIL, Paris

GOLD

‘BLACK SUPERMARKET’ for CARREFOUR by MARCEL, Paris

Top takeaways

Ideas as currencyThis year, we saw strong, disruptive ideas. Our industry’s currency is ideas and it’s so good to see big brands leading the way with such confident ideas. We saw brands and purpose meeting totally seamlessly.

Inside the jury roomAnyone who has ever been a judge and has had to cut the wheat from the chaff knows that it’s never an easy task, but when you get the right people in the room with the ability to recognise interesting and never-before-seen work collectively you can really spot the highly effective campaigns that are a cut above the rest.

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Entertainment

The Grand Prix We awarded the the TV Series, ‘La Forêt – Bet on a Murderer’, which demonstrated brave work that embraced technology and created an emotional reaction. Ultimately, it entertained the audience in a unique way and significantly impacted the show’s viewership and popularity.

‘LA FORÊT - BET ON A MURDERER’ for FRANCE TÉLÉVISIONS - FRANCE 3 by PUBLICIS CONSEIL, Paris

GOLD

‘NIKE ‘AWAKEN THE PHANTOM’’ for NIKE FOOTBALL by WIEDEN+KENNEDY AMSTERDAM

Top takeaways

Branded content for goodThe shortlisted entries stood out because they made the jury stand up and think differently. Entertainment and branded content ‘for good’ was a particularly strong theme in 2018, with brands and organisations unapologetically showing that ‘doing good’ leads to better business.

Audio contentIt was great to see the audio content category cutting through this year with top quality submissions. Overall, the Entertainment category showed us that brands continue to use this medium as a powerful tool that resonates strongly with an audience and captures people’s attention.

Inside the jury roomIt’s very rare that you have a whole day to stop, turn the phone off and watch some of the best entertainment work of the year from across Europe. Can I do it again please?

“Brands and organisations showing that ‘doing good’ leads to better business” Louise JohnsonCEO, Fuse EMEA

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Film

The Grand Prix Our discussion centred around the innovative use of film versus classic storytelling. Ultimately, we awarded an entry that we thought represented the power of film.

We have so many options and media channels available to us, but film is the one where we can elicit real emotion – where we can create powerful connections with the audience. The BBC animation is a perfect example of filmmaking. A story that unfolds, that allows us to really connect with the characters and does so through perfect craft.

‘THE SUPPORTING ACT’ for BBC by BBC CREATIVE, London

GOLD

‘THE BAPTISM’ for UBISOFT by DDB PARIS

GOLD

’KID’S DREAMS’ for VOLKSWAGEN AG by GRABARZ & PARTNER, Hamburg

Top takeaways

Storytelling over advertisingIn 2018, there were less obvious themes than in previous years, though it would be fair to say that the classic ad construct seemed to have fallen out of favour. We saw films that indulged in storytelling, with less obvious ‘advertising’ ideas. Less sell, more seduction.

You could see a newly subtle approach and our Gold winners reflected this. We had the VW campaign that was a classic idea, which smartly articulated a real understanding of the brand and what it stands for. ‘Baptism’, as a prequel ‘teaser’ to the game, was also a powerful film – brilliantly directed, acted and scripted. And the innovation around ‘La Forêt’ was fantastic – a great way to get you to see film differently.

Micro-formats and smart uses of spaceWe wanted to recognise early-adopters of micro-formats, as well as smart use of specific space – like ‘Mondelez’ and, again, ‘La Forêt’. We also wanted to acknowledge the smart way brands that like IKEA and Diesel wove product into brilliant stories with a strong social message.

Inside the jury roomWe debated honestly and openly and there were brilliantly conflicting opinions on a lot of work. We debated long and hard around longer formats. Were they just self-indulgent? Would they have been sharper with the discipline of a shorter time length? And, as is so wonderful with a diverse European jury, we discussed local relevance as a hugely important factor.

“Less sell, more seduction” Kate StannersChairwoman and Global Chief Creative Officer, Saatchi & Saatchi

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Film Craft

The Grand Prix ‘Hope’ won because it simply blew us away emotionally by its perfection. The simplicity of the idea was enhanced by the craft behind it. Direction, but also casting, cinematography, editing, sound design all contributed to its overall effect. It stood out in the end for its emotional impact and for the way that it used craft in the service of good – which is something we all aspire to.

‘HOPE’ for ICRC by BLUR FILMS, Madrid

GOLD

‘PRIDE IN LONDON - SOMEWHERE OVER THE RAINBOW’ for LGBT+ COMMUNITY by BMB, London

GOLD

‘IT’S OK’ for OAKLEY by WANDA PRODUCTIONS, Paris

Top takeaways

Great craft in the service of goodWe saw this in many entries – for NGOs of course, but we also saw brands producing amazing pieces of craft. Diesel, for example, shared a positive social message with ‘Hate Couture’, as did Velux (on healthier living) and Volvo (on car-sharing and the environment).

Specific disciplinesWe also saw brilliant crafted pieces that had been carried out by one very specific discipline –such as sound design for ‘JFK Unsilenced’, or hand-crafted animation in ‘World Cup’, or even the spoof of Lidl with the handmade production and sound design.

“It simply blew us away emotionally by its perfection” Sandrine Huijgen Le GoffCreative Partner, Cloudfactory,The Netherlands

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Glass: The Award For Change

The Grand Prix This was advertising a mainstream product in a way that it had never been done before. Brilliantly done, with fantastic craft across every channel. This was a no brainer for the jury.

‘#BLOODNORMAL’ for LIBRESSE/ BODYFORM (ESSITY) by KETCHUM, London

GLASS AWARD

‘HIGHLIGHT THE REMARKABLE’ for STABILO INTERNATIONAL GMBH by DDB DÜSSELDORF

GLASS AWARD

‘#UNWANTED’ for NGO WOMANS RIGHT CENTER by McCANN BELGRADE

Top takeaways

Beyond campaignsThe beauty of a category that is defined by the agenda of the work as opposed to the format, is that the creativity used is so diverse. In its own way, that is a theme for Glass. From tweets to influencers, we saw every channel and format used and even some that have never been used before. The work that we see awarded in Glass comes from a campaigning mentality, but really these are not campaigns.

Inside the jury roomA jury from different countries, disciplines and with different experiences brought their diverse perspectives to the judging room. This year’s Glass jury was a wonderful group of people whose defining characteristic was their ability was to listen.

“This was advertising a mainstream product in a way that it had never been done before” Kate StannersChairwoman and Global Chief Creative Officer, Saatchi & Saatchi

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Grand Prix for Good

The Grand Prix Women’s Right Center, NGO in Montenegro, dedicated to the promotion of women’s rights and gender equality, kicked off a campaign called ‘#Unwanted’, to confront traditional society, influence a change of legislature and prevent the abuse of genetic prenatal tests that are causing sex-selective abortions.

‘#UNWANTED’ for NGO WOMANS RIGHT CENTER by McCANN BELGRADE

Top takeaways

Evoking emotion and enacting changeI love this category of Grand Prix for Good. It is a powerful platform where brands, NGOs and agencies can all flex to affect real-world change and have lasting societal impact for the better. Work in this category has the overarching power to be heartfelt – to evoke emotion and therefore enact change. Something which I’m a huge advocate of. So, this begs the question – with all the scope at our disposal to make great, impactful, meaningful and emotive work, why aren’t we doing more of it?

Inside the jury roomIt’s this key insight that we as a jury focused on when reviewing the work. We considered every component – asking ourselves the pivotal question: “Was each one additive?”. If they didn’t all hang together in an interdependent but still cohesive way, then it’s not true integration.

“Work in this category has the overarching power to be heartfelt – to evoke emotion and therefore enact change” Laurence ThompsonCo-President & Chief Creative Officer, McCann London

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Healthcare

The Grand Prix ‘Black Supermarket’ for Carrefour was a well-deserved and unanimous Grand Prix in our Healthcare jury room. Today, brands must take more social responsibility. And this campaign is a perfect example of a huge company using its weight and stature for change. The main barrier to food quality was not the competitors or consumers’ behaviour, it was the law. And Carrefour broke the law to change it, risking massive fines and negative publicity. As a result, they shifted perception of the brand. It takes a brave client to create great work and trust its agency to deliver, and this was a perfect example.

‘BLACK SUPERMARKET for CARREFOUR by MARCEL, Paris

GOLD

‘DOT MINI’ for DOT INC. by SERVICEPLAN GERMANY, Munich

GOLD

‘WAR CORRESPONDENTS ON BREAST CANCER’ for SAMSUNG by CHEIL WORLDWIDE, Madrid

Top takeaways

Problem solvingThis year, problem-solving was a massive trend: zoning in on a specific issue and finding the best way to solve it. The end result should change perceptions, behaviours and even laws. What’s great about these types of ideas, is that they don’t have to follow the normal route to market, be traditional or even be a campaign. ‘Autism Can Work’ and ‘Black Supermarket’ typified this and were worthy winners.

Aiming for simplicitySome great uses of technology were apparent, too. But it’s not just about using technology for the sake of it. It’s about simplification and seamlessly fitting into people’s lives. For example, Google’s ‘Dot’ is a beautifully simple hand-held device that truly empowers blind people. ‘Voice of Voices’ for ALS also got our tongues wagging.

Inside the jury roomIt was a massive honour to be President of Healthcare this year – a position of responsibility that I took hugely seriously. The experience will stay with me.

The chemistry in the room on judging day was infectious and the energy electric. My fellow jurors had some intelligent insights and different approaches to validate the work we viewed, which led to some lively debate. But when it came to awarding the Grand Prix, we were all completely aligned and unanimous in our decision to award ‘The Black Supermarket’.

“What’s great about these types of ideas, is that they don’t have to follow the normal route to market, be traditional or even be a campaign.” Tom RichardsChief Creative Officer, Havas Lynx Europe

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Innovation

The Grand Prix We awarded ‘Dot’ because it was clear that the idea was truly innovative – creating not only new hardware for the blind community to use, but a new software approach too. The innovation roadmap taking Dot to 2022 and beyond demonstrated a variety of applications: from watches and books to airports and vending machines. The whole Dot system will open up a world of real-time communication to the blind community, a world that had until now been relatively inaccessible.

‘MAKING THE WORLD ACCESSIBLE, DOT BY DOT. for DOT INC. by SERVICEPLAN GERMANY, Munich

INNOVATION AWARD

‘TOUCHING MASTER-PIECES’ for NEURODIGITAL by GEOMETRY GLOBAL, Prague

INNOVATION AWARD

‘BLOCK WISH’ for S GROUP by S-GROUP, Helsinki

Top takeaways

Innovation that goes beyond a campaignWe saw lots of one-off experiments, or early stage technology innovation. Agencies are trying new ideas and testing new technologies but they clearly need more ongoing support from clients in order to take the learnings forward and improve over time.

It was evident that there is more work to do to ensure that brands understand innovation not as a one-off campaign or initiative, but a longer ongoing process that requires nurturing and development over time.

“The whole Dot system will open up a world of real-time communication to the blind community” Tracey FollowsFounder, Futuremade

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Integrated“If they didn’t all hang together in an interdependent but still cohesive way, then it’s not true integration” Laurence ThompsonCo-President & Chief Creative Officer, McCann London

The Grand Prix This year’s much-deserved winner demonstrated a great understanding of mixed channels, displaying use of faceted components that flexed and changed, but that served together to enhance the whole. It hung together beautifully and is an excellent example of world-class integrated work.

‘#BLOODNORMAL’ for LIBRESSE/ BODYFORM (ESSITY) by KETCHUM, London

GOLD

‘BIHOR COUTURE’ for BEAU MONDE by McCANN BUCHAREST

Top takeaways

Seamless customer experiencesThese days, the best modern integrated campaigns are the ones that have evolved into a considered shape and feel. No longer the purview of multiple media buys, it’s now not about ‘matching luggage’, it’s all about a seamless experience and engaging customer journey.

Inside the jury roomIt’s this key insight that we as a jury focused on when reviewing the work. We considered every component – asking ourselves the pivotal question: “Was each one additive?”. If they didn’t all hang together in an interdependent but still cohesive way, then it’s not true integration.

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Media

The Grand Prix This year’s Grand Prix winner was ultimately selected because of the insight shown into their customers. This allowed them to swerve outside of the category norm and create something truly emotive within a very rational category.

‘THE ANIMALS’ OWN EMERGENCY NUMBER’ for DNB by TRY, Oslo

GOLD

‘OOPS’ for 02 by HAVAS MEDIA, London

GOLD

’RAMMED WITH CONFIDENCE’ for VOLKSWAGEN UK by PHD, London

Top takeaways

Use of media to elevate a core ideaThe question, “Is it media?” cropped up many times during this year’s process. Ultimately, we were looking for work where media made a difference to the outcome. How did media make an amazingly emotive piece of content better; travel further; make more impact? DNB’s campaign to create a fourth emergency number for Norway’s pets allowed them to not only reach, but genuinely engage their audience (and indeed their audience’s pets). Their use of multiple channels and platforms wrapped around the core campaign idea drove huge value for the brand and business. They also went the extra mile and managed to coordinate over 450 vets under one emergency number.

Creativity & dataContent, social and data continue to grow, but the entries that ultimately won brought together old and new, creative and data to create something that really resonated with the audience and drove real value for the brand and business.

Inside the jury roomInside the jury room, it’s just you, the work and a room full of smart people to talk about it with. Passion, disagreement, jealousy (“I wish I’d done it!”), humour, mutual respect and many other emotions fly around the room. In the midst of it, the best work starts to bubble up to surface. Pointed conversations getting right to the heart of challenges within each piece of work meant we had some good debates, and ended up with winning campaigns we would have all been proud to be responsible for.

“The entries that ultimately won brought together old and new, creative and data to create something that really resonated” Dan HagenGlobal Chief Strategy Officer, iProspect

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Mobile

The Grand Prix The Grand Prix winner didn’t just define how people acted and reacted in retail, it changed the way a company operated their business and thought about their customers. It’s the type of work that goes beyond a big idea and becomes about big impact as it rides the wave of changing user behaviours and expectations.

‘BLOCK WISH’ for S GROUP by S-GROUP, Helsinki

Top takeaways

AR, VR & MR adoptionMobile isn’t a device as much as it’s a way of interacting with the world, or a way that the world can interact with us. We saw this in the raft of work that can be broadly typified as AR/VR/MR or the mix of physical and digital devices we had at our disposal. In the end, the jury looks for work that defines best-in-class – a bar to jump for years to come.

It was good to see the conversations around new technology ask the key question: is it a gimmick, or is it key to the idea and quality of the work? It’s easy to be swayed by shiny stuff, but this jury kept coming back to the core questions and it shows in the work they awarded.

Inside the jury roomOur smart and opinionated jury members were open to having their minds changed through insight and information from others, but not afraid to stand their ground for the work they believed in.

“It’s the type of work that goes beyond a big idea and becomes about big impact” Wesley ter HaarFounder / Chief Operating Officer, MediaMonks

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Outdoor

The Grand Prix All of us on the jury were so jealous of this campaign. It literally blew our collective minds. It started pitch-side – by translating the moves of players on the pitch to the players in the game – all in real-time.

‘FOOTBALL DECODED’ for MICROSOFT by McCANN LONDON

GOLD

‘GO WITH THE FAKE’ for DIESEL by PUBLICIS ITALY, Milan

GOLD

’#BODYCANTWAIT’ for HANDICAP INTERNATIONAL by HEREZIE, Paris

Top takeaways

Physical meets vir tualThis year, we saw so many great things in our dark jury room in London. We saw interactive billboards that were in fact physical shortcuts around a city. We saw 80-foot Portuguese waves brought to life in Times Square. We saw creativity beating far-right vandalism and ignorance with the unbreakable rainbow. We discovered that tech can’t be implemented for tech’s sake – it needs to tie into a brand’s values or benefits.

Outdoor redefinitionsWe saw the manipulation of classic art in #bodycantwait. We saw truly beautiful re-imaginings of what the category means, with outdoor being redefined as a pair of glasses that prevent car sickness in one particularly notable entry. At eurobest 2018, traditional outdoor was anything but traditional.

“At urobest 2018, traditional outdoor was anything but traditional” Alan KellyExecutive Creative Director, Rothco Ireland

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PR

The Grand Prix In strong competition, our Grand Prix really stood out. It addressed a specific problem – that no nation takes responsibility over this country sized area of plastic – and provided a specific, earned-at-core solution. The whole idea was not only designed to start conversation, but also to prompt action.

‘TRASH ISLES’ for LADBIBLE/THE PLASTIC OCEANS FOUNDATION by AMVBBDO, London

GOLD

‘REPICTURING HOMELESS’ for GETTY IMAGES AND FIFTYFIFTY by HAVAS DÜSSELDORF

GOLD

‘THE PHOTOGRAPHY BAN’ for GRAUBÜNDEN TOURISM by JUNG VON MATT/LIMMAT, Zürich

Top takeaways

Cultural relevanceThis year’s winners showed that when an idea has an earned core, it can take the brand anywhere, using any channels to get there. Looking at the awarded work, I would say that an earned, culturally relevant approach is taking the lead.

Business imperative: building socially conscious brandsLots of the best pieces of work were both selling products and building brands, while taking a stand in society. Two thirds of the population now consider themselves to be belief-driven buyers. Brands are making sure that the audience feel something for them and this is now a business imperative. The work showed how we, as marketers, are reacting to the world we live in.

Inside the jury room

Everyone in the room came from different countries, backgrounds and roles and we very quickly turned those differences into an asset. Each piece of work was looked upon and discussed through the lens of our different perspectives and the chemistry in the room was amazing. I am proud of the immense respect we showed every piece of work, knowing how much work had gone into each and every one of these entries. We were thorough and left no work behind – but we also didn’t award work lightly.

“Brands are making sure that the audience feel something for them and this is now a business imperative.” Mattias RongeCreative Strategist, Edelman Deportivo London

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Print & Outdoor Craft

The Grand Prix It’s simple and intelligent, with a deeper meaning. It highlighted something that the product itself does. That is the best branding.

‘THE REMARKABLE’ Campaign for STABILO by DDB DÜSSELDORF

GOLD

‘ONE POSTER FOR PEACE’ for INTER-RELIGIOUS COUNCIL IN BOSNIA AND HERZEGOVINA by NEW MOMENT NEW IDEAS COMPANY, Belgrade

Top takeaways

Playing with iconsThis year, we noticed brands focusing on or manipulating a logo and brands playing with icons – which we can see in campaigns like ‘Amber Cube’, ‘Hitler Hashtag’ and Diesel’s ‘Hate Couture’.

Technology translates historyWe also noticed brands finding their position and voice in society, using parts of our shared history combined with new technologies to speak to something universal – as we saw with Bauhaus, Stabilo and in ‘JFK Unsilenced’.

Inside the jury roomI enjoyed discussions with different views, cultures and experiences brought to the table. Everyone entered the judgement period and the intense conversation with passion.

“Brands are finding their position within society and using parts of history combined with new technologies.” Katrin OedingChief Creative Officer & Creative Director, Studio Oeding Germany

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Print & Publishing

The Grand Prix This is a classic print ad, executed to perfection – Stabilo’s progressive ‘Highlight the Remarkable’ married layout, writing and art direction with a powerful idea.

‘THE REMARKABLE’ Campaign for STABILO by DDB DÜSSELDORF

GOLD

‘FRESH PRINTS’ for ALDI by McCANN SPAIN, MADRID

Top takeaways

Importance of contextWe talked a lot about how the placement of the campaigns added to the messaging. There was a sense that the use of print is becoming rare – but when used effectively, can really pack a punch.

Innovation in publishingThe rise of innovation in publishing points towards an interesting future – one with work that is very personalised, tactile and specific.

Inside the jury roomWe talked a lot about the importance of beautiful craft and its power it to attract the eye. We loved some of the invention that we saw in this category and delighted in the work that managed to marry craft, idea and context. Ultimately, when it came to awarding our Gold and Grand Prix, we were brutal in our search for perfection.

“The rise of innovation in publishing points towards an interesting future” Kate StannersChairwoman and Global Chief Creative Officer, Saatchi & Saatchi

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Radio & Audio

The Grand Prix It could have been an award-winning idea on its own, even without the lengths they went to in terms of perfecting the execution. They went the extra step and spent the time and money on perfecting the sound design – even the background noise of each word – which was appreciated by the jury and elevated the already powerful idea to Grand Prix level. It brought the impossible to life at a relevant time in history.


Top takeaways

Radio – the comeback kidRadio as a category was the comeback kid of 2018. It was great to see an old dusty traditional media being re-imagined by some brilliant minds. This year’s eurobest winners will inspire creatives across Europe to re-examine this reborn medium with renewed excitement and ambition.

Audio channel-hackingIn use of tech and data in radio and audio, we heard great ideas featuring Alexa, JFK and a pen that allowed you to listen to a football match whilst sitting in a boring meeting. ‘The Distress Signal’ bravely hacked a disused FM signal in Norway to send an important message around the world. And ‘JFK Unsilenced’ made the impossible, possible.

Inside the jury roomCome spend a week in a dark room in rainy London to judge some traditional advertising categories with a bunch of strangers they said. Well, what a week. The dark room turned out to be really quite bright. The rain turned out to be more of a light fog. The bunch of strangers turned out to be the nicest and most thought-provoking people you could hope to be stuck in a room with.

“Radio as a category was the comeback kid of 2018.” Alan KellyExecutive Creative Director, Rothco Ireland

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THEMES & TRENDS

Themes & Trends

eurobest 2018 brought insights that go well beyond industry trends. With many entrants striving for something more than creative messaging, this year we saw work from across Europe both responding and contributing to the wider cultural setting. Progressive work with a powerful purpose was at the forefront across all categories and formats – with brands taking a clear, and often defiant, stand on social issues.

We saw subversions of traditional campaign formats, with many award-winners reacting to a crowded market by hacking channels to find surprising new ways into their consumers’ hearts and minds.

We also saw brands and agencies harnessing technology and data in newly beautiful, creative ways. And our winners were those who managed to move away from technology for technology’s sake – with awarded work eschewing showy AI or VR for meaningful innovation and problem-solving. Products and solutions addressed customer needs: fitting seamlessly into people’s lives.

eurobest awards Europe’s most exceptional ideas. These are the key themes and trends observed from across the most exceptional of this year’s ideas, with examples from the awarded work that moved and inspired our eurobest juries in 2018.

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Truth-telling: Making the Invisible VisibleThere’s power in the creative use of tech and data to reveal truth, uncover the unseen and empower hidden agents.

In a world mired by fake news and culture wars, we yearn for core truths. This year, we saw brands and agents addressing this need by delivering important messages. Often, data, media and technology were the methods of communication – innovation in these areas brought the unseen to the forefront of our collective consciousness.

Awarded campaigns in 2018 also went beyond creative messaging, answering social needs with practical and fiercely progressive solutions. And with winning work backed up by increased shares, footfall and sales, it turns out that transparency and truth are good for business, too.

“Honesty shouldn’t be a trend. It should be a standard. But given the many scandals and lack of transparency of the recent years, it must necessarily be. Especially, with consumers becoming more aware of how their choices affect the planet, we should expect a shift in focus. From story-telling to truth-telling.”

Laia Abellán Ponce de LeónExecutive Strategy Director, DDB Berlin

‘Blind Meters’ | GOLD, Creative Data + 7 more awards | HAPPINESS BRUSSELS, AN FCB ALLIANCE, Brussels

‘How many meters are you driving blind?’. BlindMeters.com, a first-of-its-kind platform that gives everybody concrete insight into how many metres they miss when texting and driving.

BlindMeters.com is geo-located and turns Google Maps into a text editor, allowing you to type on any road. A custom-made font connects to the speed limitation data of the specific road you’re typing on and stretches to the exact number of metres missed. In a completely new way, people were able to see the truly terrifying distance over which they were putting their own, and their passengers’, lives at risk.

‘Black Supermarket’ | GRAND PRIX, Healthcare | GRAND PRIX, Brand Experience & Activation, GRAND PRIX Healthcare + 6 more awards | MARCEL, Paris

Doctors say that good nutrition is the best preventive healthcare. But Europe regulates against products that would be better for the health of consumers: organic varieties. Carrefour decided to change the law by defying it, and launched the Black Supermarket – nationwide in-store installations selling illegal varieties of cereals, vegetables, and fruits. They asked people to join the cause by buying the illegal products in stores and by signing a petition on Change.org.

‘The Animals’ Own Emergency Number’ | GRAND PRIX, Media + 3 more awards | TRY, Oslo

Nine out of ten Norwegians had no idea what number to call if their pet needed urgent help. DNB embarked on an ambitious social responsibility project to ensure that all animals get the protection they deserve and called out to establish the first national emergency number for animals. The petition protocol was handed over to a representative from the Justice Committee and the call for an official three-digit emergency number for animals is as of now under discussion at the Justice Committee.

THEMES & TRENDS

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THEMES & TRENDS

Luxury fashion brands are now harnessing the power of shared experiences, social purpose and community to engage with millennials and Generation Z.

Loyalty and brand affinity in the luxury market are now cultivated by brands embracing inclusivity, diversity and collaboration. The need to engage with the next generation of consumers has forced fashion to rethink its ideals – where ‘exclusive and aspirational’ were once key, ‘authentic, purposeful and community-focused’ are the new purchase drivers.

Winning campaigns saw brands expressing their values and points of view, giving consumers something to identify with. Ultimately, fashion brands that sought to progress social purpose achieved stronger brand positioning and better business results. Purpose prompts purchase.

“What we’ve seen the past year is exciting – work coming out with a provocative and ‘wrong’ way of thinking. It becomes extra effective when a campaign moves around in a place where it’s expected to be about glossiness. Those who succeed have balanced edge and relevance.”

Johan BelloFounder at ACNE

‘Go with the Fake, Diesel’ | GOLD Brand Experience & Activation + 7 more awards | Publicis Italy, Milan

Diesel confronted counterfeit culture with an authentic brand experience that resonated and reinvigorated the brand, re-establishing it as the icon of brave and subversive fashion.

‘Diesel Hate Couture, Diesel’ | GOLD Film Craft + 1 more award | Sizzer Amsterdam

Diesel took a stand against online abuse by casting polarising celebrities and influencers wearing the worst comments they have ever received. Turning hate on its head and overturning fashion conventions, this brought to life the tagline, “The more hate you wear, the less you care”.

‘Save our Species, Lacoste’ | GOLD Brand Experience & Activation + 3 more awards | BETC Paris

Daring to radically change one of the most iconic fashion logos, the Lacoste crocodile made way for ten threatened animals in a collection of limited edition polo shirts corresponding to the number of animals known to exist in the wild.

Fashion: Luxury Breaks Out of the Traditional High Gloss Mould

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THEMES & TRENDS

Art: Reinvigorating the Classics

Exceptional creative executions are reinventing historical ideas and icons.

In 2018, campaigns connected to the current cultural moment by looking backwards. We saw work revisiting historical artistic and aesthetic traditions – referencing, manipulating or incorporating established masterpieces and styles.

Awarded campaigns made use of visuals or icons from history to achieve an instant understanding with their audience. It’s this moment of recognition that opens up an opportunity for a brand to subvert and celebrate classic art, creating memorable cultural experiences.

“The work this year has been ambitious and focused on craft. Excellent print ads: challenging and refreshing what an old medium could be without feeling old. Feature film: when classic Hollywood film making gets applied to gaming, or when car ads end up in the 90’s …. honouring old masters in a new and unexpected way.”

Johan Bello Founder at ACNE

‘The Lost Typography of Bauhaus’, Adobe | GOLD, PR + + 4 more awards | Abby Priest, Stockholm

Adobe Typekit turned incomplete typographical sketches from the Bauhaus archives into five complete typefaces, giving a new generation of designers and creative professionals the chance to experiment with iconic art that would otherwise have been lost forever.

‘Museum of Romanticism’, IKEA | BRONZE, Outdoor + 1 more award | McCann Spain, Madrid

IKEA challenged and changed brand perceptions by placing furniture in an 18th century living room and challenging visitors to differentiate the new from the antique. By demonstrating that IKEA products can fit in with a historic aesthetic, this experience sparked conversations and increased purchasing consideration.

‘#BODYCANTWAIT’, Handicap International| GOLD + 2 more awards | Herezie, Paris

3D printed prosthetic limbs were fitted onto ancient statues around Paris, including the Venus de Milo, to raise awareness of the lengthy waiting time for prosthetics and directly represent this to the public.

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THEMES & TRENDS

Product: Storytelling and Problem-solvingBrands are increasingly creating products that solve problems for consumers.

This year, we saw disruptive, non-traditional work reflecting the expanding role played by the creative industry. From motion sickness to global warming, many awarded campaigns showed brands listening, and then speaking, to their customers with new products and innovations that addressed very real problems.

With strong supporting insight at the core of innovative products, these real-world solutions are often a form of strategic storytelling. They represent brand voice in a tangible way, emphasising a true understanding of the needs of the customer.

“In a world of dynamic creative and programmatic, understanding the relevance of the context in its totality is one of the last miles towards a total end-to-end consistent brand experience. Expect more stories that bring the brand’s narrative into a physical world – often coupled with channel hacking or business model hacking.”

Laia Abellán Ponce de León, Executive Strategy Director, DDB Berlin

‘Bordeaux 2050’, AJE | SILVER, Direct + 6 more awards | McCann Paris

The French Association of Journalists for the Environment needed to make global warming more than just another news headline. By using forecasting data and grapes already growing in extreme conditions, the Bordeaux 2050 wine made the consequences of climate change tangible and relatable.

‘Seetroen’, Citroën | SILVER, Outdoor | BETC Paris

Citroën developed glasses that cure motion sickness as a solution for everyday discomfort. This marks an evolution for the brand from sales orientated communication to making use of innovation to enter into a dialogue with consumers and reach a wider audience.

‘Tradesman’s Suncream’, Wickes | BRONZE Healthcare | Iris London

Home improvement brand Wickes wasn’t losing ‘trade’ customers to a competitor, but skin cancer. This was a product solution rooted in a strong insight. the Tradesman’s Suncream positioned the brand from home improvement to health improvement and enabled Wickes to connect with a hard-to-reach audience where previously, conventional marketing had failed.

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THEMES & TRENDS

Channel Hacking: Innovative Medium ManipulationDisruption has evolved into channel hacking, with brands manipulating and subverting the traditional campaign medium.

To truly infiltrate culture now requires thinking outside of traditional channels. Cleverly utilising new platforms to speak to their audience, awarded work this year subverted the idea of the ‘campaign’ by appearing in totally unexpected places and formats.

Often supported by a creative use of data and audience insight, this trend has led to increased engagement and brand recognition for many of its adopters.

“Our world is accelerating. With more and more channels, more connectivity and more choices, brands need to find ways to fight consumer’s reflex to swipe left on commercial messages. And, for sure, tech-hacking will continue to be a key source for creativity in the incoming years.”

Laia Abellán Ponce de León Executive Strategy Director, DDB Berlin

‘La Forêt – Bet on a Murderer’, France Télévisions – France 3 | GRAND PRIX, Entertainment,GRAND PRIX, Direct + 10 more awards | Publicis Conseil, Paris

In partnership with betting platform Winamax, TV channel France 3 gave viewers the opportunity to literally bet in real time on the identity of the murderer in new crime drama La Forêt. It transformed watching TV from a passive activity into an immersive and interactive shared experience.

‘Football Decoded’, Microsoft | GRAND PRIX OUTDOOR + 7 more awards | McCann London

XBox’s competitor had bought all the marketing rights to the FIFA 18 game, so the brand partnered with Real Madrid to sponsor the digital perimeter boards. Rather than advertising the game, the boards translated the football matches into corresponding commands for FIFA 18 on Xbox, teaching the audience how to play like Real

Madrid. While other brands just perimeter boards as a space for branding, Xbox were not just selling FIFA 18, but making people better at it.

‘The Distress Signal’, Amnesty International | BRONZE Radio & Audio + 3 more awards | Anorak, Oslo

By playing a phone call on loop for nine days on the shutdown FM radio network, this campaign hacked both a medium and a major news story. As Norway’s FM radio network was turned off, Amnesty International made the first emergency ‘distress signal’ broadcast since the second world war. With the attention of the national media, the campaign took this further by making it possible for anyone to boost the signal by simultaneously live streaming the broadcast on social media.

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ME THODOLOGY

MethodologyPart A – General Terms And Conditions That Apply To All Awards

General

1. By entering the Festival, Entrants agree to be bound, and abide, by the Rules. We may vary the Rules from time to time, in which case the variation will take effect from the date of publication of the new Rules on our website: https://www.eurobest.com. We have absolute discretion to determine the application of the Rules or to resolve any ambiguity in them as we see fit.

2. We may at any time refuse or withdraw Entries which, in our reasonable opinion:

2.1. breach applicable laws, regulations or industry recognised codes of practice;

2.2. offend national sentiments, religious sentiments or public taste;

2.3. do not meet the eligibility requirements set out in clause 5 of Part A of these Rules; or

2.4. in any other way conflict with the Rules or the spirit of the Guiding Principles.

3. Ascential is part of the Ascential Group, which pledges to trade legally and respect all laws including the trade sanctions imposed by EU and US Governments. We operate under a Group Sanctions Policy which means that we cannot accept Entries from people or Entries in relation to projects based in, residing in or connected with a country subject to EU and/or US government sanctions.

4. In these Rules, words and expressions shall have their ordinary meaning unless otherwise defined in the Glossary.

Eligibility requirements

5. Each Entry must satisfy the following requirements:

5.1. The Entry has aired, launched or been released to the public for the first time between 1 September 2017 and 31 October 2018 (the “Eligibility Period”) or:

5.1.1. if a Campaign began before the Eligibility Period, a minimum of two thirds falls within the Eligibility Period;

5.1.2. if you are entering a Campaign that has run over two or more years, you are able to prove the Campaign’s evolution from year to year (we have the right to decide if the Entry has evolved sufficiently and can be deemed as a new, eligible Entry);

5.1.3. if you are entering a Campaign of Executions (e.g. for Print & Publishing, Outdoor, Film, Film Craft, Print & Poster Craft, and Radio & Audio Entries), the whole Campaign falls within the Eligibility Period;

5.1.4. if you are showcasing a continuation of a Campaign that aired before the Eligibility Period then you can clearly show how the Campaign has progressed (we have the right to decide if the Entry has progressed sufficiently and can be deemed as a new, eligible Entry).

5.2. The Entry has been created within the context of a normal paying contract and genuine brief from a Client OR if it’s a case of self-promotion or a non-profit organisation, the Client has approved all of the media/production/implementation;

5.3. You have permission to enter the Entry from the commissioning Client/brand-owning company;

5.4. You have included the Client contact details in the Entry including name, position and full contact details;

5.5. The Entry has been submitted exactly as published/aired/released and has not been modified for entry into the Festival;

5.6. The Entry is not speculative or conceptual advertising, and has not been banned or withdrawn from airing;

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5.7. The Entry does not relate to a product which is a prototype/not commercially available (save where otherwise stated in the relevant Additional Requirements e.g. for Innovation);

5.8. A senior officer (CD, CEO or Chairman) from your company has given permission for this work to be entered;

5.9. The Entry was not entered into the same eurobest Award last year (the same piece of work cannot be submitted for the same eurobest Award in consecutive years but, providing the Entry meets the relevant eligibility requirements, including the Eligibility Period requirements, you may enter the work into an alternative eurobest Award);

5.10. There is no reference to your company or any contributing creative companies in any digital or physical materials (except in the case of self-promotion);

5.11. All supporting case films and materials are correct and final versions (these cannot be changed once your Entry has been submitted);

5.12. The work, and/or case film can be understood in English. For further details see Entry Kit 1;

5.13. The Entrant is not based in, residing in or connected with a country subject to EU and/or US government sanctions;

5.14. The Entry is not in relation to a project based in, residing in or connected with a country subject to EU and/or US government sanctions;

5.15. The Entry is not a Scam Entry (as explained below);

5.16. It meets any relevant Additional Requirements;

5.17. The Entry was designed specifically for and to run in the European Region and was created by a Company in the European* region.

5.18. - The Entry was designed specifically for and to run in the European Region and was created by a Company outside the European Region.

5.19. - The Entry was designed to run globally as long as it was created by a Company in the European Region.

6. If new results are collected after the entry has been paid for, we will only accept additional written information in the results section of the entry form up to 02 November 2018.

Guiding Principles

7. The Guiding Principles indicate the spirit in which the Rules will be interpreted and in which they will be applied. Where Ascential determines that any Entrant has not behaved in accordance with the Guiding Principles, we may direct the Entrant to modify or remedy its behaviour (even where such behaviour is not an express breach of any particular rule), and any failure by that Entrant to modify or remedy its behaviour may lead to disqualification.

8. The Guiding Principles are as follows:

8.1. Fairness and Integrity. Entrants and Ascential must act fairly in their application of the Rules, without seeking to exploit the Rules to the unfair advantage, or disadvantage, of any given Entrant. Entrants must not undertake any activities which would bring the fairness of the Awards or Special Awards into disrepute (including by collusion with any other Company for the maximisation of points).

8.2. Transparency and Accuracy. Entrants and Ascential should provide information to each other in a full, frank, and open manner, to maintain the transparency and accuracy of the Awards and the Special Awards.

8.3. Ownership and Responsibility. Representatives have a special role to play in ensuring the accuracy of information provided by Entrants for the calculation of the Special Awards. Representatives must take full ownership of, and responsibility for, submitting only that information which they believe is accurate, and will be required to sign a Declaration Form accordingly.

http://creativity.ascential.com/eb-entry-kit-1.html

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8.4. Good Faith and Co-Operation. Ascential will carry out the administration of the Special Awards in accordance with the Rules, using its discretion where necessary and in good faith, and relying on the information it receives from Companies and/or their Representatives. In turn, all Entrants and Representatives should cooperate in good faith with Ascential, including by providing information, and providing the necessary declarations, by the deadlines set in the Rules.

Scam Entries

9. The Festival represents the best in creative vision and achievement and we continually strive to protect the spirit and purity of the Awards. The issue of scam work is an important one which we take very seriously. The role of the Festival is to set the benchmark for creativity in communications, to celebrate creativity and to reward outstanding creative work. The best way to prove that creativity is a force for business, for change and for good in the world is to ensure that scam work is removed from the Festival. Where we consider that an Entry is a scam (a “Scam Entry”) we may withdraw the Scam Entry or remove the Entrant’s Award or Special Award (as applicable).

Conduct

10. Entrants should not: (a) bring the Festival into disrepute; or (b) do anything which could be prejudicial to the image and/or reputation of the Festival or the Awards. Where we consider that an Entrant has not complied with this clause, we may withdraw their Entry or remove their Award or Special Award (as applicable).

Checks and requests for further information

11. We reserve the right to request additional information about your Entry, including for the purposes of verifying its eligibility or authenticity. For example, we may ask for media scheduling details, Client confirmation in writing or any other further information we need to verify the authenticity of your Entry. If you do not provide us with the requested information or if we determine that you have not provided us with adequate information, we may withdraw your Entry, Award or Special Award (as applicable).

12. We also reserve the right to carry out our own checks to make sure that the information you have provided about your Entry is correct, including but not limited to checking that: (i) your purported Client is legitimate; and (ii) that the product featured in the Entry corresponds with your Client’s portfolio.

Effect of Non-Compliance with the Rules

13. We shall have the right to determine whether the Rules have been complied with. If we find that you have potentially breached the Rules, we will invite you to explain, including explaining any mitigating facts or circumstances. If we find that the Rules have been breached, we shall have the right to disqualify the relevant Entry and/or impose any other penalty specified in these Rules.

14. Where we deem that an Entrant has deliberately and knowingly contravened the Rules (including by entering an ineligible or Scam Entry), we may ban any or all of those individuals named on the relevant Entry’s credit list from entering the Festival. Ascential will determine the appropriate length and nature of the ban based on the seriousness of the case involved. Not all situations are the same and each case will be dealt with on its own merits.

15. Our decisions in all matters relating to the Festival shall be final and binding.

Intellectual Property Rights: Treatment, Use and Publication of Entries

16. By submitting your Entry, you confirm that you have all the relevant rights and consents required to allow us, and any parties associated with us, to use your Entry as set out in these Rules.

17. When you submit an Entry, you warrant to us that you are doing so in full compliance with all intellectual property rights which subsist in the Entry, including as follows:

17.1. you have the legal right to submit the Entry into the Festival; and

17.2. the exercise of the Festival Purposes by us or our authorised representatives shall not infringe the rights of any third party, nor breach any applicable laws.

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18. By submitting their Entry, and in return for us agreeing to consider their Entry for an Award, Entrants give us the right to use their Entry Materials in accordance with the Rules, including for the Festival Purposes.

19. To the extent that you are not the owner of the Entry Materials, you agree to use commercially reasonable endeavours to ensure that we may exercise the Festival Purposes without Restriction. In this context, using commercially reasonable endeavours includes trying to get any relevant third parties (e.g. third-party rights holders) to agree to allow us to exercise the Festival Purposes. It does not include having to retrospectively amend or agree new terms of engagement for any Entry already commissioned. Nor does it require you to spend any money to get permission for us to exercise the Festival Purposes.

20. The “Festival Purposes” which we may, but are not obliged to, carry out are as follows:

20.1. Screening or publishing Entry Materials with or without charge at public or private presentations, in such manner and form as we reasonably think fit;

20.2. reproducing Entry Materials in ‘The eurobest Winners Site’ (and any future iterations of The eurobest Winners Site) and offline;

20.3. Permitting third parties to use Entry Materials, directly or indirectly, to promote the Festival; and

20.4. Reproducing any Entry in a collection of advertisements which may be offered for sale anywhere in the world, including in the Cannes Lions Archive (and any future iterations of the Cannes Lions Archive including The Work). Such a collection may not, nor may any extracts of it, be copied, marketed or sold by a third party other than Ascential or any organisation authorised to do so by us. This may include adaptation/translation by a third party.

21. The Festival Purposes set out above shall not include any action that may violate:

21.1. any applicable law; or

21.2. any restriction placed on the use of the Entry by its legal owner, a permitted licensee or a third party whose property is included in the Entry Materials, where you have notified us of such restriction;

(each of (a) and (b) being a “Restriction”).

22. You must notify us in writing (including by e-mail) of any Restriction as soon as reasonably possible on becoming aware of it.

23. You must immediately inform us if you become aware that an unauthorised collection or compilation including your Entry is available for sale or distribution.

24. If any legal action is started against us in relation to your Entry then, without prejudice to any other rights or remedies available to us, you shall promptly assist us in dealing with the claim (including, without limitation, by providing all documentation establishing ownership of rights in the Entry at our request).

Data protection

25. We will use any personal data included in your Entry Materials to process your Entry, contact you about enquiries, to further the Festival Purposes and to announce and promote winners. Further details can be found in our privacy policy on our website, which can be found here.

Administration of the Festival

26. We have absolute discretion to change the Category or Section that an Entry is entered in to at any time (including, but without limitation, where we believe that such changes are necessary to ensure that all Entries are showcased in their best light). We will inform Entrants if we make any changes to their Categories or Sections.

https://www.eurobest.com/privacy-policy

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Complaints Procedure

27. If there is a complaint about any Award-winning or shortlisted Entry or the award of a Special Award we may, at our discretion, choose to investigate the complaint. If we choose to investigate a complaint, you must cooperate fully with us in relation to that investigation, including by providing us with any information we request from you.

28. If we uphold a complaint and find that the winning or shortlisting of any Entry was unfair or incorrect, we may withdraw the relevant Entry, Award or Special Award, as applicable.

Cancellations and refunds

29. If you wish to withdraw your Entry, you must notify us:

29.1. by email to [email protected]; or

29.2. through your account at eurobest.com.

30. We reserve the right to disregard any other form of notification.

31. Subject to clause 35 (Entries withdrawn by us) of Part A of these Rules, if you withdraw your Entry on or before 11 October 2018 for any reason, you will be eligible for a refund on your Entry Fee less a processing fee of €100.

32. We will process refunds and credits after the Festival on receipt of a request to [email protected]. If requesting a credit, please specify if this is for Entry Fees or delegate passes and the year you would like to use the credit for within your request.

33. If you withdraw your Entry after 11 October 2018, you will not receive a refund or a credit.

Duplicate Entries from different Entrants

34. If we receive two Entries of the same work in the same Category or Section from different Entrants (e.g. if a Production Company enters the same piece of work that an Agency has already submitted), the Entry Fee paid by the second Entrant (i.e. the Entrant which submitted its Entry later in time) may be used by that Entrant to: (i) move the Entry to another Section or Category; (ii) enter a new Entry in its place; or (iii) receive a credit note for next year’s Festival.

Entries withdrawn by us

35. We will not refund your Entry Fee where we have withdrawn your Entry because it:

35.1. does not comply with the Rules (including the eligibility requirements); or

35.2. is missing required media/results/information and you have failed to provide the information within a reasonable period (where reasonable period is to be determined by us in our absolute discretion).

Changing your Category/Section

36. Before 2 November 2018 you may change the Category or Section that your Entry has been entered into.

37. If the Category or Section that your Entry has been entered into changes, you will:

37.1. not be eligible for any refund in respect of any price difference between the Entry Fee payable for the original Category or Section and the new Category or Section (but any price difference will be credited to you for use against payment for the Entry Fee for other Entries in the same year’s Awards);

37.2. be required to pay any additional amount in respect of any price difference between the Entry Fee payable for the original Category or Section and the new Category or Section.

mailto:awards%40eurobest.com?subject=

http://eurobest.com

mailto:finance%40eurobest.com?subject=

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38. Where you have entered a piece of work into the same Category or Section more times than permitted (please check the Additional Requirements for each Category or Section for details), you will not be eligible to receive any refund. However, you will be able to use the funds paid for that Entry Fee:

38.1. to move the work to another Category or Section; or

38.2. to enter a new piece of work in its place.

Miscellaneous

39. If you win an Award or Special Award, any duties, fees and charges accrued from the transporting of the trophy must be covered by the recipient, not by us.

40. The eurobest trophy and all eurobest branding is the intellectual property, including copyright, design rights and trademark rights, of Ascential and/or its group companies. We have the exclusive right to and not limited to, reproduce, manufacture, copy, and sell the eurobest trophy in any size or medium, and to distribute or exploit the design of the eurobest trophy or reproductions of the same by gift, sale, re-sale or licence. No reproduction, replica or other copy of the eurobest trophy or eurobest branding may be made or used by any manufacturer, advertiser, organisation or individual except in accordance with these terms unless you have our prior express written consent or a license from us.

41. Where we Display an Entry we are doing so for the purpose of criticism and review only. Displaying an Entry does not constitute any recommendation, endorsement or promotion of the products or services featured in the Entry by us or any of our affiliates. Subsequent Displays do not represent the views or opinions of us or our affiliates. Ascential and its affiliates do not accept any liability of any kind in respect of any Display or any product or service referred to in any Display.

Entire Agreement

42. Each Entrant acknowledges and agrees that the Rules constitute the entire and only agreement between the Entrant and Ascential. No Entrant has relied upon, nor has been given by Ascential, any warranty, representation, statement, assurance, covenant, agreement, undertaking, indemnity or commitment of any nature whatsoever other than as expressly set out in the Rules. In the event of any clash between these Rules and any other material published by us, these Rules shall take precedence.

Invalidity

43. If any provision of the Rules is or becomes invalid, illegal or unenforceable in any respect, the validity, legality and enforceability of any other provision shall not be affected or impaired in any way.

Liability

44. Ascential does not accept any responsibility for any damage, loss, injury or disappointment suffered by any Entrant.

45. Ascential’s liability to any Entrant, whether in contract or tort (including negligence), shall be limited to the amount of the Entry Fee. For the avoidance of doubt, Ascential shall not be liable to any Entrant for any indirect, consequential or special loss arising out of, or in connection with, the Festival, nor for any loss of profits or business (save that nothing shall exclude Ascential’s liability for death or personal injury as a result of its negligence).

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Governing law and jurisdiction

46. The Rules shall be governed by and construed according to English law and the parties submit to the exclusive jurisdiction of the English courts.

47. In the event of any dispute, controversy or claim between an Entrant and Ascential, arising out of or relating to the Rules, including without limitation regarding its existence, validity or termination (a “Dispute”), the parties shall first seek settlement of that Dispute in accordance with the following procedure:

47.1. any party alleging a Dispute shall send to the other party a written notice setting out the material particulars of the Dispute (“Notice of Dispute”), which must state that it is sent pursuant to this clause; and

47.2. thereafter, the parties shall use reasonable endeavours to resolve the Dispute by good faith negotiations between them for a period of four weeks from the date that the Notice of Dispute has been deemed to have been duly served.

48. In the event that the parties cannot settle the Dispute in accordance with clause 47 of Part A of these Rules (and within the time period stipulated under clause 47.2 of Part A of these Rules), the Dispute shall be referred to and finally resolved by mediation under CEDR or the parties may mutually agree to arbitration under the LCIA Rules, which LCIA Rules are deemed to be incorporated by reference into this clause. The number of arbitrators shall be one. The seat, or legal place, of arbitration shall be London and the language of the arbitration shall be English.

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Part B – Additional Terms And Conditions That Apply To Special Awards Only

Introduction

1. The Special Awards, to each of which Special Awards Rules apply, are as follows:

1.1. Network of the Year Award;

1.2. Agency of the Year Award;

1.3. Media Network of the Year Award;

1.4. Independent Agency of the Year Award;

1.5. eurobest Golden Palm Award;

1.6. Country Agency of the Year Award

2. The entry into, and awarding of, the Special Awards is governed by the Rules. In the event of any discrepancy between any of the different Parts of the Rules applying to Special Awards (i.e. Parts A, B and/or C), the order of precedence for Special Awards shall be as follows:

2.1. Part B (Additional Terms and Conditions that apply to Special Awards only); then

2.2. Part C (Special Awards Rules); then

2.3. Part A (General Terms and Conditions that apply to all Awards).

3. Certain Entries will be shortlisted for or win Awards. Those Companies which are shortlisted for or win Awards will be given points which will count for all Special Awards for which those Companies are eligible, as set out in Part C of these Rules.

Crediting Rules (NB these apply to Roles only)

4. Each credit on your Entry must constitute one geographical office and business. For example, you cannot credit ‘Company, United Kingdom’, you must credit ‘Company, London’ or ‘Company, Manchester’. If two Companies both worked Significantly they must both be credited.

5. Each separate Company must be credited if they worked Significantly, even if they are geographically based in the same place. For example, if ‘Company Health, London’ and ‘Company, London’ both worked on an Entry they must both be credited, you cannot just credit ‘Company Group, London.

6. The credited Company name must exactly match the Legal/Trading Name of the Company.

7. The credited Company must be credited as they were branded/owned at the time of the execution of the Entry. For example, Company A and Company B have merged during the Eligibility Period to create Company C. If the campaign took place before the merger date the credited Company must be Company A or Company B, not the new Company C.

List of current Holding Companies and Networks

8. At time of writing, we consider the Holding Companies to be: BlueFocus Communication; Dentsu Group; Enero; Hakuhodo DY Holdings; Havas Worldwide; Interpublic Group; MDC Partners; Omnicom; Publicis Groupe; and WPP.

9. At time of writing, we consider the Networks to be: Bartle Bogle Hegarty; BBDO Worldwide; Blue Focus; CDM Group; Cheil Worldwide; Chime Communication; Daiko, DDB Worldwide; Dentsu, FCB; Grey; Innocean; Hakuhodo; Havas; J. Walter Thompson; Leo Burnett; Kyu; M&C Saatchi; McCann Worldgroup; MDC Partners; Mullenlowe Group; Ogilvy; Publicis Worldwide; R/GA; Saatchi & Saatchi; SapientRazorfish; TBWA Worldwide; The North Alliance; The & Partnership; Yomiko; and Young & Rubicam Group.

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10. At the time of writing, we consider the Media Networks to be: Blue 449; Carat; Dentsu X; Essence; Havas Media Group; Initiative; Hakuhodo DY Media Partner; Hearts & Science; Maxus, Mediacom; MEC; Mindshare; OMD Worldwide; PHD Worldwide; Starcom; The Spark Foundry; UM; Vizeum; Wavemaker; and Zenith.

11. At the time of writing, we consider the Independent Networks to be: Droga5; Edelman; Fred & Farid; Jung von Matt; Serviceplan; Syneous Health; The Bloc Partners; and Wieden & Kennedy.

12. We may update the lists of Holding Companies and Networks set out in clauses 8 to 11 inclusive of Part B of these Rules at our absolute discretion. For example, if we become aware that one of the Networks is involved in a sale, merger or acquisition that means that it is no longer a Network, we may remove it from the list. We will notify any Holding Company or Network that is added to or removed from the relevant list.

13. If you wish to propose any change to the lists of Holding Companies and Networks set out in clauses 8 to 11 inclusive of Part B of these Rules, please contact us by no later than 30 September 2018. We shall have ultimate discretion to decide the status of any particular entity and our decision shall be final and binding.

Validation process and procedure for Special Awards

14. Companies must declare, at the time of entry into the Festival, which, if any, Network, Independent Network, Media Network and/or Holding Company each credited Company is Owned by or Affiliated with.

15. All Companies are required to make due and careful enquiry of their legal counsel, company secretary, or Chief Financial Officer to establish ownership and/or affiliation, in accordance with the applicable Ownership and/or Affiliation Tests.

Validation process

16. 9 November 2018 to 5pm GMT, 23 November 2018

16.1. Ascential will make available online to all Representatives the full list of all Companies credited to the 2018 Awards (the “Published Data”).

16.2. Persons with access to the Published list on the Global Network Portal may submit to Ascential any comments, corrections, or challenges to the Published Data. Such submissions will not be considered by Ascential unless they are accompanied by appropriate evidence (whether through invoices, terms and conditions, contracts, or website branding).

17. After the Final Deadline, all information regarding Companies will be considered ‘locked in’ and no further information or requests for amendments to Company data will be considered for the purposes of calculations for Special Awards.

18. If a Company is not listed in the Published Data, and Ascential does not receive a request before the Final Deadline to include that Company in the Published Data, Ascential shall have no obligation to include that Company in calculations of the Special Awards.

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Disqualification and discretion

19. Companies must cooperate with Ascential and Representatives must provide Ascential with:

19.1. accurate information;

19.2. sufficient evidence to enable Ascential to determine whether a Company is Affiliated with or Owned by a Network, Independent Network, Holding Company, Media Network and/or Healthcare Network (examples of appropriate information may include contracts, ownership documents or change of branding on websites); and

20. Ascential shall have absolute discretion in determining:

20.1. a Company’s eligibility for a Special Award;

20.2. whether a Company falls within a Network, Holding Company, Independent Network and/or Media Network;

20.3. whether a Company has submitted false, deliberately misleading or fraudulent information; and

20.4. whether any correction is necessary to ensure the accuracy and integrity of the Special Awards or Ascential’s role in the same.

21. Ascential will not be responsible for omissions or wrongful inclusions caused by it being provided with inaccurate or insufficient information.

22. Ascential shall have the right to disqualify at any time any Company which has submitted false, deliberately misleading or fraudulent information.

Confidentiality

23. Ascential will not divulge to any person, except to its professional representatives or advisers or as may be required by law or any legal or regulatory authority, any information received during the Validation Process or otherwise which is identified by the Representative, at the time of provision, as confidential.

24. For the avoidance of doubt, if information is provided to Ascential without being identified as confidential, Ascential shall not treat that information as confidential.

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Part C – Special Awards Rules

Network of the Year Award

1. Overview and Criteria: The Network of the Year Special Award is given to the Network Parent Company of the Network or Independent Network whose members are the most successful overall for Entries in the Awards (in accordance with the below allocation of points).

1.1. Members of a Network or Independent Network for the Network of the Year Award shall be those Companies which satisfy either:

1.1.1. the Network Ownership Test; or

1.1.2. the Network Affiliation Test.

2. Points: Members of a Network or Independent Network will be allocated the following number of points for each of the following Awards:

• 35 points for a Creative Effectiveness Grand Prix

• 30 points for all other Grand Prix, including Grand Prix for Good

• 15 points for a Glass Award

• 15 Points for an Innovation Award

• 15 Points for a Creative Effectiveness Award

• 15 points for a Gold Award

• 7 points for a Silver Award

• 3 points for a Bronze Award

• 1 point for a shortlist position

2.1. Companies credited with an Idea Creation Role on all shortlisted or winning Awards are eligible to accrue points towards the Network of the Year Special Award. Points accrued by Companies credited are only assigned to a Network or Independent Network if the company satisfies the Network Ownership Test or the Network Affiliation Test.

3. Calculation: The winner of the Network of the Year Special Award will be the Network or Independent Network whose members obtain the most points for shortlisted and awarded Entries in aggregate in accordance with the above allocation of points.

3.1. The total is calculated by adding:

3.1.1. the total points from Awards won by members of a Network or Independent Network; and

3.1.2. the total points from the remaining shortlisted Entries of members of a Network or Independent Network, save that a Network or Independent Network member’s points will only count towards the Network’s overall total if the Company in question was a Network or Independent Network member on the date that its award-winning or shortlisted Entry or Campaign was initially launched, released, published or aired.

3.2. If an Entry is shortlisted and then goes on to win an Award, the shortlist point is no longer counted.

4. Shared points: If a shortlisted or winning Entry has been credited to more than one Company in the Idea Creation Role, the points awarded to the Entry will be divided equally among the Companies credited.

4.1. If a shortlisted or winning Entry has been credited in the Idea Creation Role to more than one Company:

4.1.1. from the same Network or Independent Network, the full points awarded to the Entry will go to that Network or Independent Network;

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4.1.2. from different Networks or Independent Networks, the points awarded to the Entry will be shared equally between both Networks or Independent Networks (for example, if Agency A belonging to Network A wins a Gold Award co-credited with Agency B, which belongs to Network B, then the points with be shared equally between both Networks); and

4.1.3. if one Company is not affiliated to a Network or Independent Network, then only half of the points awarded to the Entry (or the relevant equal proportion associated with the Company that is from a Network or Independent Network) will count for the purposes of the Network of the Year Award and will be awarded to the relevant Network or Independent Network (for example, if Agency A belonging to Network A wins a Gold Award and is co-credited with Independent Agency B, then only half of the total points will count for the purposes of the Network of the Year Award and will be given to Network A).

4.2. In the event of a Mixed Ownership Company winning or being shortlisted for an Award, the points which accrue by reason of that Award or shortlist position will be split equally between all constituent entities which own at least 20% or more of the Mixed Ownership Company (for example, if a Mixed Ownership Company is owned in equal proportions by three Companies, each of those three Companies will receive one-third of the points which accrue).

5. Campaign points: If a Campaign of Executions wins an Award, Entries will also be awarded Campaign Points.

5.1. In the case of a tie between Networks/Independent Networks, the Campaign Points from a winning Campaign are valued higher than regular shortlist points.

5.2. Where different Companies have been credited to separate Executions of an awarded Campaign of Executions, the points will be divided pro rata. For example, if Agency A is credited with only 1 Execution of a 4-part Campaign of Executions that wins a Silver Campaign Award, then Agency A will receive 2.5 points (7 points for the Silver Award + 3 Campaign Points = 10 points divided by 4).

6. Total tied points: In the case of a tie between Networks/Independent Networks in the number of points won by their respective Companies, the winner will be determined in accordance with the following formula:

6.1. the Network or Independent Network with the highest overall number of Awards is the winner. If there is still a tie between Networks/Independent Networks, then;

6.2. the Network or Independent Network with the highest number of highest ranking Awards is the winner. If there is still a tie between Networks/Independent Networks, then;

6.3. the Network or Independent Network with the most shortlist and Campaign Points is the winner.

6.4. The formula is applied in the following practical examples. In both examples, Network A beats Network B based on the number and rank of Awards won:

Example 1:

Network A Network B

2 Gold Awards 30 points 1 Gold Award 15 points

1 Silver Award 7 points 1 Silver Award 7 points

1 Shortlist 1 point 16 Shortlist 16 points

Total 38 Points Total 38 Points

Example 2:

Network A Network B


3 Bronze Awards 9 points 4 Silver Awards 28 points

6 Shortlist 6 points 2 Shortlist 2 points


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Media Network of the Year Award

1. Overview and criteria: The Media Network of the Year Award is given to the Network Parent Company of the Media Network whose members are the most successful overall for Entries in the Awards for Entries in Media eurobest Award (in accordance with the below allocation of points).

1.1. Members of a Media Network for the purposes of the Media Network of the Year Award shall be those Companies which satisfy either:

1.1.1. the Media Network Ownership Test; or

1.1.2. the Media Network Affiliation Test.

1.2. All Entries in the Media eurobest Award with a credited Media Agency in the Media Placement Role are eligible to accrue points, regardless of the Entrant Company. Media Agencies with shortlisted and winning Entries in Media eurobest Award will contribute points to Media Network of the Year and Holding Company of the Year Award if a Media Agency has been credited in the Media Placement Role.

1.3. Any Advertising Agency submitting an Entry to Media eurobest Award where the services of an external media Agency were used MUST credit that Media Agency in the Entry submission.

1.4. Notwithstanding this, we shall have absolute discretion in determining a Media Network’s eligibility for this Special Award.

2. Points: The allocation of points used to calculate the Media Network of the Year Special Award is as follows:

• 30 Points for a Grand Prix





2.1. Media Agencies credited with a Media Placement Role on all shortlisted or winning Media eurobest Awards are eligible to accrue points towards the Media Network of the Year Award. Points accrued by Companies credited are only assigned to a Media Network if the company satisfies the Media Network Ownership Test or the Media Network Affiliation Test.

3. Calculation: The winner of the Media Network of the Year Award will be the Media Network whose members accrue the most points for shortlisted and awarded Entries in Media eurobest Awards, in accordance with the above allocation of points.

3.1. The total points accrued by each Media Network is calculated by adding:

3.1.1. the total points from Media eurobest Awards awarded to members of a Media Network; and

3.1.2. the total points from the remaining shortlisted Entries of members of a Media Network, save that a Media Network member’s points will only count towards the Media Network’s overall total if the Company in question was a Network member on the date that its award-winning or shortlisted Entry was initially launched, released, published or aired.


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4. Shared Points: If a shortlisted or winning Entry has been credited to more than one Company in the Media Placement Role, the points awarded to the Entry will be divided equally among the Agencies and Companies.

4.1. If a shortlisted or winning Entry has been credited in the Media Placement Role to more than one Company:

4.1.1. from the same Media Network, the full points awarded to the Entry will go to that Media Network;

4.1.2. from different Media Networks, the points awarded to the Entry will be shared equally between both Media Networks (for example, if Media Agency A belonging to Media Network A wins a Gold Award credited with Media Agency B, which belongs to Media Network B, then the points with be shared equally between both Networks); and

4.1.3. if one Company is not affiliated to a Media Network, then only half of the points awarded to the Entry (or the relevant equal proportion associated with the Company that is from a Media Network) will count for the purposes of the Media Network of the Year Award and will be awarded to the relevant Network (for example, if Media Agency A belonging to Media Network A wins a Gold Award and is co-credited with Independent Media Agency B, then only half of the total points will count for the purposes of the Media Network of the Year Award and will be given to Media Network A).

4.2. In the event of a Mixed Ownership Company winning or being shortlisted for an Award, the points which accrue by reason of that Award or shortlist position will be split equally between all constituent entities which own at least 20% or more of the Mixed Ownership Company (for example, if a Mixed Ownership Company is owned in equal proportions by three Companies, each of those three Companies will receive one-third of the points which accrue).

5. Total tied points: In the case of a tie between Media Networks in the number of points won by their respective members, the winner will be determined in accordance with the following formula:

5.1. the Media Network with the highest overall number of Awards is the winner. If there is still a tie between Networks, then;

5.2. the Media Network with the highest number of highest ranking Awards is the winner. If there is still a tie between Networks, then;

5.3. the Media Network with the most shortlist points is the winner.

5.4. The formula is applied in the following practical examples. In both examples, Network A beats Network B based on the number and rank of Awards won:

Example 1:

Network A Network B





Example 2:

Network A Network B





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Agency of the Year Award

1. Overview and criteria: The Agency of the Year Award is given to the Agency that obtains the most points overall for Entries in the Awards, according to the below allocation of points.

2. Points: The allocation of points used to calculate the Agency of the Year Award is as follows:





• 15 Points for a Creative Effectiveness Awards





2.1. Agency points contribute to the Agency of the Year Special Award; and also

Independent Agency of the Year Special Award if the Agency is not part of a Holding Company.

2.2. Companies credited in an Idea Creation Role on all shortlisted or winning Awards are eligible to accrue points towards the Agency of the Year Special Award. The exact method for points calculation is outlined in the calculation section below.

3. Calculation: The winner of the Agency of the Year Special Award will be the Agency that obtains the most points in aggregate for shortlisted or awarded Entries in accordance with the above allocation of points.


3.1.1. the total points from Awards that have been awarded to Agencies; and

3.1.2. the total points from the remaining shortlisted Entries of Agencies.


3.3. The maximum number of points awarded to an Agency for shortlisted Entries is 10. This does not include Campaign Points, as these are linked to Campaigns of Execution that win an Award.

4. Multiple Entries: If the same Campaign or Execution is entered more than once within one eurobest Award and is shortlisted and/or wins more than one Award, only the points for the highest Award or the highest points scoring Campaign of Executions are counted.

4.1. For example, if a Campaign wins an Award and the same Campaign also wins another Award within that eurobest Award, only the highest scoring Award counts. This rule is applied only within each eurobest Award; that is, if a Campaign wins a Silver Award and a Gold Award in Direct eurobest Awards, only the Gold points are counted. However, if the same Campaign wins a Silver Award in Direct eurobest Awards and a Gold Award in PR eurobest Awards, both the Silver and Gold points are counted.

4.2. In eurobest Healthcare award, If the same Campaign or Execution is entered more than once within one Medium and is shortlisted and/or wins more than one Award, only the points for the highest Award or the highest points scoring Campaign of Executions are counted.

4.3. For the avoidance of doubt the Medium groupings within eurobest Healthcare are classed as:

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• Brand Experience & Activation and Direct

• Branded Content & Entertainment

• Creative Data

• Digital Craft

• Digital

• Film Craft

• Film

• Integrated

• Mobile

• Print & Publishing, Outdoor and Print & Outdoor Craft

• PR

• Product Innovation

• Radio & Audio and Radio Craft

• Use of Technology

5. Shared points: If a shortlisted or winning Entry has been credited to more than Company with an Idea Creation Role, the points awarded to the Entry will be divided equally among the Companies credited.


6.1. In the case of a tie between Agencies, the Campaign Points from the winning Campaign are valued higher than regular shortlist points


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7. Total tied points: In the case of a tie between the total number of points won by Agencies, the winner will be determined in accordance with the following formula:

7.1. the Agency with the highest overall number of Awards, excluding the shortlist points and Campaign Points, is the winner. If there is still a tie between Agencies, then;

7.2. the Agency with the highest number of highest ranking Awards is the winner. If there is still a tie between Agencies, then;

7.3. the Agency with the most points, taking into consideration all duplicated Entries is the winner. If there is still a tie between Agencies, then;

7.4. the Agency with the highest overall number of Awards, including the shortlist points and Campaign Points, is the winner. If there is still a tie between Agencies, then;

7.5. the Agency with the most shortlist points and Campaign Points, disregarding the cap of 10, is the winner.

7.6. The formula is applied in the following practical examples. In both examples, Agency A beats Agency B based on the number and rank of Awards won:

Example 1:

Agency A Agency B





Example 2:

Agency A Agency B





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Country Agency of the Year Award

1. Overview and criteria: The Country Agency of the Year Award is given to the Agency from an individual country that obtains the most points overall for Entries in the Festival, according to the below allocation of points.

2. For a country to qualify for Country Agency of the Year there must be a minimum of five different Entrant Companies from that country.

3. For an Agency to qualify to be awarded or placed in Country Agency of the Year, they must obtain a minimum of 15 points as calculated in section 3 below.

4. Points: The allocation of points used to calculate the Agency of the Year Award is as follows:





• 15 Points for a Creative Effectiveness Awards





5. Only presented to countries located in the European Region.

6. Companies credited in an Idea Creation Role on all shortlisted or winning Awards are eligible to accrue points towards the Country Agency of the Year Special Award. The exact method for points calculation is outlined in the calculation section below.

7. Calculation: The winner of the Country Agency of the Year Special Award will be the Agency that obtains the most points in aggregate for shortlisted or awarded Entries in accordance with the above allocation of points.

7.1 The total is calculated by adding:

• the total points from Awards that have been awarded to Agencies; and

• the total points from the remaining shortlisted Entries of Agencies.

7.2 If an Entry is shortlisted and then goes on to win an Award, the shortlist point is no longer counted.

7.3 The maximum number of points awarded to an Agency for shortlisted Entries is 10. This does not include Campaign Points, as these are linked to Campaigns of Execution that win an Award.

8. Multiple Entries: If the same Campaign or Execution is entered more than once within one eurobest Award and is shortlisted and/or wins more than one Award, only the points for the highest Award or the highest points scoring Campaign of Executions are counted.

8.1. For example, if a Campaign wins an Award and the same Campaign also wins another Award within that eurobest Award, only the highest scoring Award counts. This rule is applied only within each eurobest Award that is, if a Campaign wins a Silver Award and a Gold Award in Direct eurobest Awards, only the Gold points are counted. However, if the same Campaign wins a Silver Award in Direct eurobest Awards and a Gold Award in PR eurobest Awards, both the Silver and Gold points are counted.

8.2. In Healthcare eurobest Award, If the same Campaign or Execution is entered more than once within one Medium and is shortlisted and/or wins more than one Award, only the points for the highest Award or the highest points scoring Campaign of Executions are counted.

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8.3. For the avoidance of doubt the Medium groupings within Healthcare eurobest Awards are classed as:

• Brand Experience & Activation and Direct


• Creative Data

• Digital Craft

• Digital

• Film Craft

• Film

• Integrated

• Mobile

• Print & Publishing, Outdoor and Print & Outdoor Craft

• PR

• Product Innovation

• Radio & Audio and Radio Craft

• Use of Technology

9. Shared points: If a shortlisted or winning Entry has been credited to more than Company with an Idea Creation Role, the points awarded to the Entry will be divided equally among the Companies credited.


10.1. In the case of a tie between Agencies, the Campaign Points from the winning Campaign are valued higher than regular shortlist points


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11. Total tied points: In the case of a tie between the total number of points won by Agencies, the winner will be determined in accordance with the following formula:

11.1. the Agency with the highest overall number of Awards, excluding the shortlist points and Campaign Points, is the winner. If there is still a tie between Agencies, then;

11.2. the Agency with the highest number of highest ranking Awards is the winner. If there is still a tie between Agencies, then;

11.3. the Agency with the most points, taking into consideration all duplicated Entries is the winner. If there is still a tie between Agencies, then;

11.4. the Agency with the highest overall number of Awards, including the shortlist points and Campaign Points, is the winner. If there is still a tie between Agencies, then;

11.5. the Agency with the most shortlist points and Campaign Points, disregarding the cap of 10, is the winner.

11.6. The formula is applied in the following practical examples. In both examples, Agency A beats Agency B based on the number and rank of Awards won:

Example 1:

Agency A Agency B





Example 2:

Agency a Agency b





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Independent Agency of the Year Award

1. Overview and criteria: The Independent Agency of the Year award is given to the Independent Agency that obtains the most points overall for Entries in the Awards, according to the below allocation of points.

2. Points: The allocation of points used to calculate the Independent Agency of the Year Special Award is as follows:

• 35 points for a Titanium and Creative Effectiveness Grand Prix

• 30 Points for all other Grand Prix, including Grand Prix for Good

• 30 points for a Titanium Award





2.1. Companies credited with an Idea Creation Role on all shortlisted or winning Awards are eligible to accrue points towards the Independent Agency of the Year Special Award. Only independent agencies as outlined in the Rules for Special Awards are eligible to accrue points towards the Independent Agency of the Year Special Award.

3. Calculation: The winner of the Independent Agency of the Year Special Award will be the Independent Agency that obtains the most points in aggregate for shortlisted or awarded Entries in accordance with the above allocation of points.


3.1.1. the total points from Awards that have been won by Independent Agencies; and

3.1.2. the total points from the remaining shortlisted Entries of Independent Agencies.


4. Shared points: If a shortlisted or winning Entry has been credited to more than one Company in the Idea Creation Role the points awarded to the Entry will be divided equally among the Companies eligible. For the avoidance of doubt Independent PR Agencies and Independent Media Agencies are eligible to receive points for Independent Agency of the Year Special Award.

4.1. If a shortlisted or winning Entry has been credited to more than one Company and one is not an Independent Agency, then only half of the points awarded to the Entry (or the relevant equal proportion associated with the Independent Agency) will count for the purposes of the Independent Agency of the Year Award and will be awarded to the relevant Independent Agency (for example, if Independent Agency A wins a Gold Award and is co-credited with non-independent Company B, then only half of the total points will count for the purposes of the Independent Agency of the Year Special Award and will be given to Independent Agency A).


5.1. In the case of a tie between Independent Agencies, the Campaign Points from the winning Campaign are valued higher than regular shortlist points.


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6. Total tied points: In the case of a tie between the total number of points won by Independent Agencies, the winner will be determined in accordance with the following formula:

6.1. the Independent Agency with the highest overall number of Awards, excluding the shortlist points and Campaign Points, is the winner. If there is still a tie between Independent Agencies, then;

6.2. the Independent Agency with the highest number of highest ranking Awards is the winner. If there is still a tie between Independent Agencies, then;

6.3. the Independent Agency with the most Entry points, taking into consideration all duplicated Entries is the winner. If there is still a tie between Independent Agencies, then;

6.4. the Independent Agency with the most shortlist and Campaign Points is the winner;

6.5. the Independent Agency with the highest overall number of Awards, including the shortlist points and Campaign Points, is the winner. If there is still a tie between Independent Agencies, then;

6.6. the Independent Agency with the most shortlist points and Campaign Points, disregarding the cap of 10, is the winner.

7. The formula is applied in the following practical examples. In both examples, Independent Agency A beats Independent Agency B based on the number and rank of Awards won:

Example 1:

agency A Agency B





Example 2:

Agency A Agency B





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eurobest Golden Palm Award

1. Overview and criteria: The eurobest Golden Palm Award honours the Production Company that obtains the most points overall for Entries in the Digital Craft, Entertainment (Section A), Film, Film Craft, Mobile and Digital eurobest Awards as well as Branded Content, Digital, Digital Craft, Film, Film Craft & Mobile Mediums in eurobest Healthcare Awards in the Awards according to the below allocation of points.

1.1. If a Production Company has more than one office in a country, points from those offices will be aggregated. Points will be aggregated where: (a) the offices share a Legal/Trading Name (e.g. ‘Production Company A, London’ and ‘Production Company A, Manchester’); or (b) the offices share the same owner and are different branches of the same company.

2. Points: The allocation of points used to calculate the Awards Palm Award is as follows:

• 30 points for a Grand Prix, including Grand Prix for Good





2.1. Production Companies credited in Digital Craft, Entertainment (Section A), Film, Film Craft, Mobile and Digital eurobest Awards will automatically contribute to the eurobest golden Palm Award. Productions Companies credited in the Branded Content, Digital, Digital Craft, Film, Film Craft & Mobile Mediums within Healthcare eurobest Awards will also automatically contribute to the eurobest Golden Palm Award.

3. Calculation: The winner of the eurobest Golden Palm Award will be the Production Company that obtains the most points in aggregate for shortlisted or awarded Entries in accordance with the above allocation of points.


3.1.1. the total points from Awards that have been won by Production Companies; and

3.1.2. the total points from the remaining shortlisted Entries of Production Companies.


3.3. The maximum number of points awarded to a Production Company for shortlisted Entries is 10. This does not include Campaign Points, as these are linked to Campaigns of Execution that win an Award.

4. Multiple Entries: If the same Campaign or Execution is entered more than once within one Award and is shortlisted and/or wins more than one Award, only the points for the highest Award or the highest points scoring Campaign of Executions Award are counted.

4.1. For example, if a Campaign wins an Award and the same Campaign also wins another Award within that eurobest Award, only the highest scoring Award counts. This rule is applied only within each eurobest Award; that is, if a Campaign wins a Silver Award and a Gold Award in Film eurobest Awards, only the Gold points are counted. However, if the same Campaign wins a Silver Award in Film eurobest Awards and a Gold Award in Digital eurobest Awards, both the Silver and Gold points are counted

4.2. In Healthcare eurobest Awards, if the same Campaign or Execution is entered more than once within one Medium and is shortlisted and/or wins more than one Award, only the points for the highest Award or the highest points scoring Campaign of Executions are counted.

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4.3. For the avoidance of doubt the Medium groupings for the purpose of the eurobest Golden Palm Awards Calculations within Healthcare eurobest Award are classed as:


• Digital Craft

• Digital

• Film Craft

• Film

• Mobile

5. Shared points: If a shortlisted or winning Entry has been credited to more than one Production Company the points awarded to the Entry will be divided equally among the Companies credited.


6.1. Shortlist points awarded to Campaign Entries that win an Award will be converted into Campaign Points and will still be counted towards the eurobest Golden Palm Special Award total.

6.2. In the case of a tie between Productions Companies, the Campaign Points from the winning Campaign are valued higher than regular shortlist points.

6.3. Where different Production Companies have been credited to separate Executions of an awarded Campaign of Executions, the points will be divided pro rata. For example, if Production Company A is credited with only 1 Execution of a 4-part Campaign of Executions that wins a Silver Campaign Award, then Production Company A will receive 2.5 points (7 points for the Silver Award + 3 Campaign Points = 10 points divided by 4).

7. Total tied points: In the case of a tie between the total number of points won by Production Companies, the winner will be determined in accordance with the following formula:

7.1. the Production Company with the highest overall number of Awards, excluding the shortlist points and Campaign points, is the winner. If there is still a tie between Production Companies, then;

7.2. the Production Company with the highest number of highest ranking Awards is the winner. If there is still a tie between Production Companies, then;

7.3. the Production Company with the most Entry points, taking into consideration all duplicated Entries is the winner. If there is still a tie between Production Companies, then;

7.4. the Production Company with the highest overall number of Awards, including the shortlist and Campaign Points is the winner. If there is still a tie between Production Companies, then;

7.5. the Production Company with the most shortlist and Campaign Points, disregarding the cap of 10, is the winner.

7.6. The formula is applied in the following practical examples. In both examples, Production Company A beats Production Company B based on the number and rank of Awards won:

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Example 1:

Production Company A Production Company B2 Gold Awards 30 points 1 Gold Award 15 points




Example 2:

production Company A Production Company B2 Gold Awards 30 points 1 Gold Award 15 points




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Part D –Grand Prix For Good Rules

Grand Prix for Good Awards

1. We recognise that it is difficult to judge work created for charities, not-for-profits or NGOs against for-profit work.

2. The eurobest Grand Prix for Good is a specialist Award. Work cannot be entered directly but becomes eligible if it is awarded a Gold Award in any eurobest Awards excluding Film Craft and Innovation eurobest Award.

Grand Prix for Good Eligibility

What is eligible for a Grand Prix?

An Entry that was produced for:

• A commercial Client, regardless of the message in the Entry;

• A company that sells products or services for commercial gain, regardless of the use of the product;

• The purposes of paid recruitment, even if it is for a charity, not-for-profit or NGO Client (e.g. recruitment for the charities, medical establishments etc.); or

• Any company that sells items not-for-profit, where this results in a corporate image or PR benefit for a company that sells products or services for commercial gain.

What is eligible for a Grand Prix for Good?

An Entry that was produced for:

• One or more charities, not-for-profits or NGO Clients only;

• Any event put on by charity, not-for-profit or NGO Client where the profits are used for charitable aims only; or

• Any public awareness message or health message commissioned by a charity, not-for-profit or NGO. The message must not be associated with a commercial Client.

Examples of Entries that may be eligible for a Grand Prix for Good include work created for the following: charities; charitable funds; charitable foundations; appeals; donations; NGOs; not-for-profit unions & associations; and not-for-profit facilities such as libraries and museums (Entrants must provide evidence that the library or museum is not-for-profit).

Government messages such as army recruitment, road safety, public health etc. are judged to be branded, not charity, work and are therefore ineligible for a Grand Prix for Good.

If the Client creates profits for individuals or shareholders, or creates a PR or corporate image benefit for a company that creates profits for individuals or shareholders, the Entry will be ineligible for a Grand Prix for Good.

If a piece of work wins a Creative Effectiveness Gold in 2018 it will only be eligible for a Grand Prix for Good if it was awarded a Silver or Bronze Award or was shortlisted in 2017, 2016 or 2015.

An Entry that is eligible for a Grand Prix for Good is not eligible for any other Grand Prix, except for a Grand Prix in the Film Craft or Innovation Award.

Interpretation

We have absolute discretion to decide if an Entry is eligible for a Grand Prix or a Grand Prix for Good. We retain the right to contact Clients or other interested parties to get any information we need to make that decision. Our decision shall be final and binding.

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Glossary

In these Rules, unless otherwise stated, the following words shall have the following meanings:

“Additional Company” means a single office of any Company credited within an Entry as having held a non-Significant role in relation to that Entry, which does not attract any points towards any Special Awards;

“Additional Company Role” means any Company who contributed a non-Significant Role in relation to that Entry;

“Additional Requirements” means any additional eligibility requirements set out on our website eurobest.com (e.g. in an entry kit)

“Affiliated” means a Company that satisfies the applicable Affiliation Test, in relation to the relevant Special Award for which it is eligible;

“Affiliation Test” means one of: the Media Network Affiliation Test; or the Network Affiliation Test (together being the “Affiliation Tests”);

“Agency” means a single office of an advertising, communications, PR, design or other agency that is a service-based business dedicated to creating advertising and other forms of promotional marketing and communications in any media for its clients;

“Ascential” (also “we”, “us”, “our”) Ascential Events (Europe) Limited a company incorporated in England and Wales with registered number 07814172 whose registered office is c/o Ascential Group Limited, The Prow, 1 Wilder Walk, London W1B 5AP, England;

“Award” means an Award which is determined by jury, and awarded during the Festival, given to an Entrant as a result of an Entry winning within a Category. References to types of Awards (e.g. Gold Awards, Silver Awards) are references to the specific rankings of the Awards;

“Campaign” means a coordinated series of linked, single or multi-channel Executions with a single idea or theme;

“Campaign of Executions” means a series of two or more Executions of the same creative idea, advertising the same product/service, via the same medium;

“Campaign Points” means those points which are awarded when a Campaign of Executions is awarded an Award. For the purpose of calculating Campaign Points, a Campaign of Executions as a whole will be considered as one Award. The Entry’s shortlist points will be converted into a combination of points attributable to winning the Award and Campaign Points corresponding to the number of Executions within the Campaign of Executions. For example, where a Campaign of Executions, featuring three Executions, wins a Gold Award, the Campaign of Executions will be awarded fifteen points for the Award, plus two Campaign Points for the remaining Executions;

“Category” means a constituent category within a Section, e.g. A05. Automotive;

“Client” means the organisation whose products or services are being communicated in the Entry;

“Company” (plural “Companies”) means an Agency, Additional Company, Client or Production Company (whether incorporated or not, and in any corporate form);

“Display” means a feature, display, exhibition or presentation of an Entry or Entries;

“Dispute” has the meaning given to it in clause 47 of Part A of these Rules;

“Eligibility Period” means 1 September 2017 to 31 October 2018 inclusive;

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“Entrants” (also “you”, “your”) means the person, company or other legal entity that submits an Entry for consideration in the Festival. If an Entry is shortlisted for or wins an Award, the Entrant is the entity which receives any trophies or certificates awarded. However, the Entrant will not receive any points towards Special Awards unless they are also credited in one of the point-winning fields in the Entry form. The point-winning fields are as follows: Idea Creation, Media Placement & Production.

“Entry” means the work submitted by an Entrant for consideration in the Festival (an Entry occurs when you submit an Entries Payment Form to us);

“Entry Fee” means the amount paid by an Entrant to Ascential, at the time of entry into the Festival and submission of the Entries Payment Form;

“Entry Materials” means all materials you provide to us, including your Entry;

“Entries Payment Form” means the online entry form required for the submission process (Entries are only accepted once this online payment form has been completed);

“eurobest Award” means a grouping of Sections, which are as follows:

(a) Brand Experience & Activation

(b) Creative Data

(c) Creative Effectiveness

(d) Design

(e) Digital

(f) Digital Craft

(g) Direct

(h) Entertainment

(i) Film

(j) Film Craft

(k) Glass: The Award for Change

(l) Healthcare

(m) Innovation

(n) Integrated

(o) Media

(p) Mobile

(q) Outdoor

(r) PR

(s) Print & Publishing

(t) Print & Outdoor Craft

(u) Radio & Audio

European Region Albania, Andorra, Armenia, Austria, Azerbaijan, Belarus, Belgium, Bosnia and Herzegovina, Bulgaria, Croatia, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Georgia, Germany, Greece, Hungary, Iceland, Ireland, Israel, Italy, Kazakhstan, Kosovo, Latvia, Liechtenstein, Lithuania, Luxembourg, Macedonia (FYROM), Malta, Moldova, Monaco, Montenegro, Netherlands, Norway, Poland, Portugal, Romania, Russia, San Marino, Serbia, Slovakia, Slovenia, Spain, Sweden, Switzerland, Turkey, Ukraine, United Kingdom, Vatican City.

“Execution” means a specific advertisement or instance of branded communication, e.g. a particular Coca-Cola TV spot, poster or branded event;

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“Festival” means the eurobest Festival, comprising of the Awards and the Special Awards;

“Festival Purposes” has the meaning given to it in clause 20 20 of Part A of these Rules;

“Final Deadline” means the deadline for: (a) providing information regarding ownership and/or affiliation of Agencies and Companies (in accordance with the relevant Affiliation Test or Ownership Test) for the purposes of calculations for Special Awards, and (b) requesting any amendments to the credits in the Published Data. The Final Deadline for the 2018 Awards shall be 5pm GMT on 23 November 2018, and references to expiry of the Final Deadline shall mean any point in time after 5pm GMT on 23 November 2018;

“Guiding Principles” means the guiding principles set out in Part A of these Rules which indicate the spirit in which Ascential will interpret and apply all the Rules;

“Grand Prix for Good Rules” means the rules for Grand Prix for Good Awards which are set out in Part D of these Rules;

“Holding Company” means one of the holding companies included in the list of holding companies set out in clause 8 of Part B of these Rules (as amended from time to time);

“Holding Company Ownership Test” means a test that will be satisfied by Companies if they are 20% or more owned by: (a) the Holding Company; or (b) a subsidiary company of the Holding Company which is itself 20% or more owned by the Holding Company;

“Idea Creation Role” means any Company that was Significantly involved in the creation of the idea at the core of an Entry;

“Independent Agency” means an Agency that is: (a) majority (51% or more) owned by its management or independent shareholders; and (b) not associated with any Holding Company or Network (excluding Independent Networks). For the avoidance of doubt, Agencies that are not part of a Network but which are owned more than 20% by a Holding Company are not considered to be an Independent Agency. The number of offices an Agency has and the number of countries in which an Agency is located is irrelevant as to whether an Agency is an Independent Agency;

“Independent Network” means one of the independent networks included in the list of independent networks set out in clause 11 of Part B of these Rules (as amended from time to time);

“Legal/Trading Name” means either: (a) the legal name of the Company (e.g. as registered with the relevant authority); or (b) the trading name of the Company, where the Company is able to demonstrate to our satisfaction use of this name in the ordinary course of business (e.g. by reference to invoices, contracts, terms and conditions, or the Company’s website);

“Media Agency” means an Agency that advises brand owners and advertising agencies on a brand’s position, messaging and creative communications;

“Media Network” means one of the media networks included in the list of media networks set out in clause 10 of Part B of these Rules (as amended from time to time);

“Media Network Affiliation Test” means a test that will be satisfied by Companies if they: (a) include the Media Network’s name in their Legal/Trading Name; or (b) are owned by an entity that shares the same Legal/Trading Name as the Media Network;

“Media Network Ownership Test” means a test that will be satisfied by Companies if they are 51% or more owned by: (a) the Network Parent Company; or; (b) a Subsidiary Company of the Network Parent Company which is 51% or more owned by the Network Parent Company;

“Media Placement Role” means a media Agency that worked Significantly or solely on the media strategy of the work being submitted or any other type of Company who worked Significantly on the media strategy;

“Medium” means a single channel or branded messaging platform;

“Mixed Ownership Companies” means any entity which is owned by two or more Companies;

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“Mixed Ownership Test” means a test that will be satisfied by each Company providing evidence of a minimum of 20% or more ownership in the Mixed Ownership Company that has been entered for an Award. Companies with less than 20% will not be treated as an owner unless they can evidence control over management, key decisions or hold voting rights;

“Network” means one of the networks included in the list of networks set out in clause 9 of Part B of these Rules (as amended from time to time);

“Network Affiliation Test” means a test that will be satisfied by Companies if they: (a) include the Network’s name in their Legal/Trading Name; or (b) are owned by an entity that shares the same Legal/Trading Name as the Network;

“Network Ownership Test” means a test that will be satisfied by Companies if they are 51% or more owned by: (a) the Network Parent Company; or (b) a subsidiary company of the Network Parent Company which is itself 51% or more owned by the Network Parent Company;

“Network Parent Company” means the ultimate, and common, parent company of a Network or Independent Network;

“Notice of Dispute” has the meaning given to it in clause 47.1 of Part A of these Rules;

“Owned” means a Company that satisfies the applicable Ownership Test, in relation to the relevant Special Award for which it is eligible;

“Ownership Test” is the collective term used to describe one of: (i) the Healthcare Network Ownership Test, (ii) the Media Network Ownership Test, (iii) the Network Ownership Test, or (iv) the Mixed Ownership Test (together being the “Ownership Tests”);

“Production Company” means a single office of a production company which is responsible for the creation, realisation and/or filming of content;

“Production Role” means a Production Company that had a Significant role in the production of the Entry being submitted. This can be any type of Company who worked Significantly on the production. This does not refer to Companies who solely produced the ‘case film’ for the Entry;

“PR Role” means the Company which worked Significantly on the public relations (“PR”) Campaign for the Entry being submitted. This can be any type of Company which worked on the PR Campaign;

“Published Data” means the information in respect of the 2018 Entries which Ascential makes available online to Representatives, as set out in clause 16.1 of Part B of these Rules, including all Companies credited in Entries to the 2018 Awards;

“Representative” means an authorised representative nominated by the relevant Company, who is of sufficient seniority to validate information provided on the Published List;

“Restriction” has the meaning set out in clause 21 of Part A of these Rules;

“Rules” means:

(a) Part A of these Rules (General Terms and Conditions that apply to all Awards);

(b) Part B of these Rules (Additional Terms and Conditions that apply to Special Awards only); and

(c) Part C of these Rules (Special Awards Rules); and

(d) Part D of these Rules (Grand Prix for Good Rules);

as applicable and as amended from time to time;

“Scam Entry” has the meaning given in clause 9 of Part A of these Rules;

“Section” means a constituent section of the Festival;

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“Special Award” means an Award that is won by the calculation of points rather than being awarded by a jury. Points accrue upon Entries winning or being shortlisted for Awards (as further specified in these Rules); and

“Special Awards Rules” means the Award-specific rules applying to each Special Award which can be found in Part C of these Rules.

“Significant” or “Significantly” when used in reference to a Company’s Role in relation to an Entry, shall mean the Company or Companies which contributed to the particular Role. At least one Company must be credited with the Role if there is any Company which meets at least one of the following criteria:

(a) The Company contributed 20% or more of the key team members involved in carrying out the Role;

(b) The Company contributed 20% or more of the total hours expended for that Role in relation to the particular Entry;

(c) The Company received 20% or more of the billings/fees for that Role in relation to the particular Entry;

(d) The Company was named on the contract with the advertiser and was clearly visible to the advertiser as having performed the relevant Role in relation to the particular Entry; and

“Validation Process” means the validation process set out in clauses 16 to 18 inclusive of Part B of these Rules.

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