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WHO'S THE BEST JUDGE?
What does judging for marketing industry awards entail and why we should ask AI to find out what people really think.
Awards season has drawn to a close for another year.
The Prosecco has been quaffed, trophies have found new homes on office desks and boardroom shelves, and many a proud agency has added the strap-line "award-winning" to their website and email signatures. This year, both our Founder & MD, Lynn Chambers, and Creative Partner, Rob Steeles, were invited to judge a number of industry awards. I caught up with them for a quick chat about their experiences judging awards and their observations of our rapidly changing creative industry.
Q: What does it mean to you to be a judge?
ROB: Being a judge means that people value your opinion. It’s flattering to be asked and a real privilege. It reflects positively on any agency or business when awards teams want your involvement. You're judging other people's work, so you must be fair, not easily swayed, and unafraid to give your view.
LYNN: The first time I was asked, last year, I thought, "Gosh, I've arrived." It’s an honour to be asked, but you must dedicate the time and energy to go through everything in detail. As Rob said, fairness and thoroughness are essential.
Q: What does this entail? Are there any aspects of the process that might surprise people?
LYNN: It’s a significant time commitment. You only have the application to inform your decision, so it's crucial to be fair and thorough. When I couldn't understand some key details, I'd search online for clarification, which can be time-consuming.
ROB: I've been involved in both judging and shortlisting. Shortlisting is interesting because many agencies fall short by not submitting the right information. It’s counterproductive and expensive. Entering some awards can cost thousands of pounds. Additionally, submissions now include videos and artwork that need to be almost as polished as the final product.
LYNN: Sometimes I wondered, "Why have you applied for this?" It felt as if someone in the leadership team instructed them to enter and they did so without giving it much thought. If you’re not going to give it your all, it’s a waste of time and money and a missed opportunity.
ROB: I particularly care about the legitimacy of the work. Has the work run? Was it a real client or product? Idea piracy happens, and agencies can be found out. It matters because it can delegitimise prestigious awards like Cannes Lions. Agencies hesitate to enter if they feel they are competing against dubious entries, which complicates the judging process.
LYNN: Background checking is key. It’s eye-opening to discover alternative information online that reveals an entry isn't quite as described and has been manipulated to fit the category.
Q: Any thoughts for the awards programs on making it easier for judges?
LYNN: Entrants should read the rules carefully and fill in all sections. I had to mark down some entries for failing to answer questions, which was frustrating.
ROB: You can’t judge in a vacuum. There should be opportunities for judges to discuss decisions. Collaboration enhances creativity.
Q: What's new and what's changing?
ROB: Presenting a video case study has become prevalent, but it can hide issues behind a polished exterior. In the digital age, you often miss the tactile quality and attention to detail of a physical piece of work when judging creative work.
Q: What are we in danger of losing?
LYNN: Brand advertising is changing rapidly. Traditional ad spaces are dwindling as more move to digital. However, creativity remains king. Everyone returns to brilliant ideas with insightful executions. I recall the Sony Bravia TV ad with 55,000 colourful rubber balls rolling down a street—no catchy tagline, just a powerful visual that positioned Sony Bravia as the TV to watch. Now, brand advertising often shifts between trends and sustainability, which can confuse clients. Yet, when a standout ad emerges, it can change the game.
Q: Other than creative and industry professionals, who makes a great judge?
ROB: The audience is the ultimate judge. We must consider our audience when judging. Including members of the public or relevant industry experts could strengthen awards juries.
Q: Anything catch your eye this time around?
ROB: It's rare for something to jump out. Previously, I judged The Roses, Regional Advertising Awards where you often see smaller agencies from outside London doing fantastic creative work with low budgets, showing impressive targeting. However, I didn’t see a piece of work this time that made me think, "I wish I'd written that." I wanted to see a killer headline or brilliant tone of voice.
Q: Why do you think that is? Is Ai doing all the writing?
ROB: AI is certainly being used for copywriting, often serving as a backbone that writers then enhance. I have no issue with this, but the quality of the overwriting must be exceptional.
Q: Could AI be the best judge?
ROB: AI has been utilised in this industry longer than many realise. The System1 Group effectively employs AI to assess whether an idea will resonate emotionally with audiences. For instance, Cadbury's, uncertain about an upcoming ad idea, turned to them for analysis. System1 measures neurological responses to eliminate guesswork about how people feel about an ad. Reassured by the data, Cadbury proceeded with the now-iconic Gorilla drumming ad, which might not have seen the light of day without that AI validation.
Q: What's the attraction for agencies to enter awards?
LYNN: Winning awards is prestigious. It drives business and fosters trust between clients and agencies. An award-winning agency may appeal more to potential clients compared to competitors without accolades.
ROB: Agencies wouldn’t enter awards without seeing ROI. Winning generates interest, attracting both clients and talent. I recall a year when my team won several awards, leading to headhunting opportunities. Such recognition can elevate your career and build trust in your judgement on creative ideas.
Q: Do you have an award you'd like to win or one you're most proud of?
LYNN: Last year, we won an ICE Award for best agency collaboration with GSK which feels more meaningful because the GSK team got well-deserved kudos for their part too. It highlighted the teamwork involved between agency and client. It was a global broadcast reaching 70,000 employees worldwide where we produced films, developed a virtual platform, and organised satellite events at five sites, plus watch parties globally. With so many moving parts and late nights, winning this award was crucial validation of both agency and client team’s hard work.
ROB: Winning a D&AD Black Pencil is the ultimate accolade in creative brilliance. However, most clients don’t distinguish between awards, so it’s worth remembering that too.
Q: What difference does winning make to clients?
ROB: Senior clients regard awards with reverence. If you're a CMO leading an award-winning campaign, a real trust develops between you and your agency, increasing the likelihood of future collaborations. Awards also enhance clients' opportunities for new, challenging work as they move between brands.
Q: Final takeaways?
ROB: Winning can galvanise an agency, but it should never feel like an award for an individual. Craft categories might recognise individual contributions, but insights and research are also critical. Campaign or agency awards should feel like a collective win for everyone involved.
LYNN: Awards are vital as they set benchmarks for excellence. They can redefine expectations and recognise those who contribute meaningfully. Most people, especially creatives, need more than just a pay check—they want to be part of something impactful.
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