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Will Australia be able to bounce back at this year’s Cannes Lions International Festival of Creativity?
Last year, Australia fell to 11th from 7th in the rankings, taking home just 18 lions. This year is an opportunity to fight back, Advertising Council Australia CEO Tony Hale told AdNews.
“Last year’s results were certainly a wake-up call. Slipping out of the top 10 was disappointing for a market that’s long punched above its weight.
“That said, we did see standout moments, like the Grand Prix for "Play It Safe", which reminded the world of what this region is capable of. The depth and breadth of work may not have been as strong as in previous years, but creativity is inherently cyclical.
“I’m optimistic that we’ll see a bounce back. Australia and New Zealand have always been global creative powerhouses, and I have no doubt we’ll rise to the occasion again.”
Creative agencies FINCH and Supermassive are in the finals of the Dan Wieden Titanium Lions award for the ‘Policy Change’ campaign for 36 Months, pushing the under-16 social media ban. FINCH is listed for creative and Supermassive for public relations.
DDB Group Melbourne has been shortlisted for the Innovation 2025 award for its ‘DyslexicU’ campaign for Made by Dyslexia.
These campaigns both tackle global issues using Australian lenses.
DDB Group Sydney chief creative officer Matt Chandler said there's a wider spread of strong Australian work this year.
"There are pockets of great work – better than we’ve seen in a few years, which we’ll see show up at Cannes," Chandler said.
"Early signs are encouraging from Titanium, Innovation and Glass with Aussie shortlists coming from DDB Melbourne and Finch/Supermassive. That’s an improvement in 2024 already.
"But there’s also a lot of average stuff. Missed opportunities with great brands in big moments.
"The differentiating factor is still just the relationships, where there’s a strong partnership between clients and their agencies, brands are bearing fruit with every project. Otherwise, it’s hit and miss."
HERO creative chairman Ben Lilley said that to become recognised creatively, we need to be more Australian.
“I’ve seen a number of campaigns this year that feel bolder, more distinctive and deeply resonant,” Lilley said.
“The kind of work that could only have come from Australia. And that’s what tends to land at Cannes: Classic Aussie humour and honesty, with a distinctly Australian flavour and voice.
“Australians know how to cut through bullshit. That means ideas that feel fresh, raw and emotionally grounded.
“This year, I’ve also felt a renewed sense of cultural relevance and resonance coming through in our best work.
“The standout campaigns haven’t just been big ads; they’ve created cultural moments. They’re what I call culture hacks. Ideas that lean into culture to become part of the conversation.
“That said, we still see too much work playing it safe. Either creatively, conservative or overly polished to the point of being soulless.
“The best Australian ideas have never been afraid to be a bit raw, a bit funny, a bit weird, but always heartfelt. That’s our creative superpower. And the more we tap into it, the more heroic our brands become.
“We don’t need to be louder or flashier. But we do need to be more of us. More Australian. It’s the ideas that feel both creatively unignorable and culturally unmistakable that give Australia its creative edge.
Cubery general manager Sam Walters said that the perception of what counts as a ‘good’ Cannes campaign has shifted towards theatrics rather than real-world effectiveness.
“The fundamentals haven’t changed, but the perception of what counts as ‘good’ has shifted. In recent years there’s been a drift toward theatricality - work that grabs attention, sometimes at the expense of real-world effectiveness," Walters said.
“That said, we’re seeing signs of a reset. A return to judging marketing by its ability to build brands over time.
"Australian advertisers have stayed the course on delivering work that serves the true objectives of advertising - whether or not it gets fully recognised at awards shows.
“From Telstra pushing category expectations with an eclectic mix of styles, to yet another cracker from Lamb Australia to clever real-world activations like Specsavers’ 'Welcome to…' airport signs. It’s been a distinctly Aussie year. Quietly effective, even if not always Cannes catnip.
Walters said that Australia can represent itself in the global marketing sphere by not being worried about the global sphere.
“Australian marketing succeeds by taking an unapologetically Australian tone of voice and style and ‘going our own way.'
"Our most iconic campaigns succeed by leaning into a tone that’s unmistakably ours. Dry humour, self-awareness, and a clear cultural identity."
Brands should also be willing to take creative risks, Lution HQ founder and CEO Chris Maxwell said.
“Businesses should certainly be cognisant of risks. There’s always going to be social backlash if you put a foot wrong with your brand and marketing,” Maxwell said.
"But equally, we can take calculated risks. There are times and places where you can be a bit edgier and take creative risks that don't put the business in jeopardy.
“Businesses should continue to push into the space of taking creative risks, because that's how you innovate, and that's how you cut through. If everyone does the same thing, no one's going to pay attention.
“There's a lot of good businesses doing award worthy work in Australia."
Brands need to push back on formulaic, conventional thinking, Hale said.
“My concern is that the growing reliance on AI could lead to conventional thinking if it's not guided by strong creative intent.
“The challenge is to embrace new tools without losing the human insight and imagination that makes great advertising great.
“The tools for good marketing may have changed, but the fundamentals remain the same.
“Great marketing still comes down to understanding people, their needs, emotions, behaviours, desires and responding in a way that is timely, relevant and engaging.
“Technology can enhance how we reach and interact with audiences, but the heart of good marketing remains grounded in human nature.”
Lilley said that the best ideas are those that find new ways to make their stamp on culture.
“Good marketing today isn’t about reach or recognition. It’s about resonance.
“Whether through earned media, social contagion, or real-world experiences that invite participation and conversation.
“Great marketing today is heroic, agile, relevant and emotionally intelligent.
“It’s built around world-class creative ideas that earn their right to exist across multiple channels and become part of a conversation.
"That's the standard all marketers should aim for.”
Chandler said that good marketing is about building brands that people love.
"We’ll never be the biggest, but we’re at our best when we’re having more fun," Chandler said.
"As humanity becomes the only true differentiator in world of content driven by tech and efficiency; more inspired, playful and original work will stand out anywhere."
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