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Print and posters more persuasive than film at Epica 2011 creative advertising awards

Creative advertising award schemes are, by their nature, an imperfect guide to reality. If your agency doesn’t enter, your work doesn’t get considered; on the other hand, those who do enter and win may be regarded as unrepresentative of general industry opinion.

Even so, hardy annual schemes provide a rough and ready guide to agencies and agency groups that are performing above standard.

Which is exactly what you find with the latest Epica international advertising awards. Set up in 1987, they are Euro-centric or rather EMEA in their scope and differ from most in the genre in being assessed by senior advertising trade-magazine journalists (usually editors) rather than the creative community. Creatives may dislike their work being prodded and probed by what they probably regard as a bunch of philistines, but they cannot deny that experienced journalists bring a degree of objectivity to the proceedings.

So what does Epica 2011 tells us? First that Germany, not France or Britain, is the advertising power-house of Europe. To be sure you would expect the biggest country – and the only one with a thriving economy right now – to be the most prolific entrant. But it also hauled the most winners: 15 golds, 45 silvers, 29 bronze – 89 awards in total. By way of perspective, France came second with 66 awards, of which 11 were golds; and Britain trailed Sweden in fourth place with 41 awards (Sweden: 58), of which 12 were gold (Sweden: 8). Germany had an “off-year” last time round, in 4th place. But pole position is no fluke: it has taken the palm 7 times in the last decade.

Next, the best performing networks. This was less clear-cut than last year, when WPP-owned Y&R attained an easy ascendancy with 8 category winners sourced by 4 different shops. It managed to cling on to top position this year but with a lesser margin – 5 winners from 2 shops – and also faces a serious challenge from Wieden & Kennedy, which shares the top honours. Next ranking were IPG-owned McCann Erickson (4 winners in 4 offices), Omnicom-owned BBDO (which is clearly slipping, 4 winners in 3 offices) and WPP-owned Ogilvy (the same). DDB (Omnicom) came sixth.

Individually, Serviceplan Gruppe Munich, Fred & Farid Paris and W&K Amsterdam took the most golds (4 apiece); and Forsmann & Bodenfors, Gothenburg the most awards (18).

So much for the statistics, but what of the overall quality of the work? A bit of a curate’s egg this year. Film, which is generally regarded as the most prestigious of the 4 leading Epica d’Or awards, finally went to W&K Amsterdam’s ‘Open Your World’ campaign for Heineken. In effect, W&K was in a duel with itself for the top honours, since the other serious contender was its last year Cannes winner – ‘Write the Future’ for Nike. Neither exactly resonates as an imaginative choice – although what they lack in originality they certainly compensate for in verve and exceptional production values. Of the two, Heineken has to have been the right choice: Nike was sooo dated and yesterday’s choice.

But if film failed to sparkle, there was ample refreshment elsewhere. Print, a category in decline if ever there was one, gratifyingly produced a triple surprise. The winner, Leo Burnett’s Swiss office Spillmann/Felser/Leo Burnett Zurich, provided some crackling word-play for, of all things, a financial services client, Swiss Life. “Life Turns in a Sentence” plays verbally on life’s vicissitudes with a series of statements that change their meaning 180 degrees in mid-sentence.

Similarly inspiring was Rainey Kelly Campbell Roalfe/Y&R’s “Passport Stamps” work for Land Rover. It had a simple, appealing graphic quality which would have worked equally well in print although in fact it won the Outdoor Epica d’Or.

While we’re there, the fourth of the big prizes, for Interactive, was won by Jung von Matt Stockholm for its “MINI Getaway” campaign.

For more on the winners, click here.

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