Building Better Brands

Nike, Honda and Skittles were big winners at this year's D&AD awards, which this year had a refreshingly eclectic feel

by E. C. Hoffman III and Helen Walters

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What does Nike (NKE) have in common with a German charity looking to send aid to the unfortunate orphans of war? Well, not much, other than they scooped the top prizes at this year's prestigious D&AD Global Awards, which will be announced at a swanky black tie ceremony in central London tonight.

The two campaigns couldn't be more different in scope, aim, and execution. One's the technologically innovative Web site of a global sports retailer, aiming to build community through the use of smart products and slick interactivity; the other is a more traditional illustrative poster campaign for a small, German, Catholic-funded charity. But both received Black Pencils, the highest prize in the competition, given to work deemed to "redefine its medium."

A further 59 Yellow Pencils were given for creative excellence, forming an elite group culled from nearly 25,000 submissions from 58 nations, and judged by a jury of 292 leading advertising, design, and creative professionals from 25 countries. This year, viral proved to be the breakout category, with nearly double the number of entries as last year. And with everything from retail and space design (the Zurich flagship for hip bag-maker Freitag) to product design (the DXL helmets for Pryde Group) to viral campaigns for TV stations such as Britain's Sky One being lauded, the awards evening had an eclectic feel.

Breaking the Noise Barrier

Once seen as a Britain-centric show, there has been a push from D&AD's powers-that-be to embrace work from around the world, along with an effort to include less traditional forms of branding communications. "The older advertising business models are wrong," says Tony Davidson, creative director of the London outpost of ad agency Wieden & Kennedy and current president of D&AD (an honorary, one-year term). "You can already see them breaking down—the smart companies are getting there much quicker."

But, argues Davidson, that doesn't mean that the advertising industry is finished. Far from it. Now more than ever, brands and clients have a pressing need for powerful creative work. He points to Nike's work with both Nike+ and the Run London campaign it conducted to encourage Britain's capital dwellers to get up and run, as examples of powerful projects that cross media and resonate with their target audience.

"You're fighting for people's attention, and people choose to come to you," Davidson says of the need to break through the cacophony of marketing messages to form meaningful relationships with consumers and potential clientele. In other words, when those same consumers are wise to the tricks of the business—and have learned how to tune out what they're not interested in—it becomes even more vital to separate and elevate your brand from the masses.

Beyond the Tube

Visionary creative thinking is a good way of doing it—and smart corporations would do well to pay attention to shows like D&AD which aim to celebrate those breakthrough ideas.

"In the end, it's not just about whether something is a good idea. It's about whether it's a good idea, and relevant. I was adamant I didn't want to see a load of ideas that were totally irrelevant for their clients," continues Davidson, whose job was to guide his jurors through the mammoth, week-long process of filtering the nearly 25,000 submissions.

"Finding the voice of a company is still a big thing. It's not about simply making it up; you have to get it from the company, and find out how that company should speak to their consumers. Whether you're doing a piece of packaging or building a showroom, getting the DNA of a brand and determining what it should look like is still quite a skill."

Given the continued evolution of the creative landscape, the diversity on show is appropriate, though some still grumble that more traditional forms of branding and marketing—such as the 30-second TV ad spot—dominate. In fact, the organization's own acronym stands for "Design & Art Direction,"—the two traditional killer applications in a creative professional's arsenal—and a nod toward a previous golden age of advertising and design.

Education Initiative

However, as the nonprofit has aged (it's now 45), its handlers have recognized, at times reluctantly, the truth behind the maxim "adapt or die." Organizations like D&AD have to step up, or risk losing relevance and respect, or simply losing out to upstart award shows such as the Clios and Effies (see BusinessWeek.com, 4/3/07, "Taking the Pulse of Marketing"). But in terms of creative cachet, D&AD is still right up there.

One literal takeaway from D&AD is its Annual, a collection of 714 pieces of the year's best work, which will be available later in the summer. While D&AD is not the only organization to produce a big glossy handbook (the Art Directors Club in New York also produces one), the resource proves handy for those looking to gain inspiration from ideas that have worked out well and learn the contact information of those behind the work—a neat, painless networking device, in other words.

Simon Waterfall, creative director and co-founder of London-based digital agency, Poke, and the deputy president of this year's show, emphasizes the need for designers to take part in the educational process to help businesses understand design thinking. "We're not just about going away to make pretty pictures," he says. "A well-educated client and partner is the best kind of person to work for." In the end, creating a persuasive brand for itself may just be the

creative community's toughest job.

Hoffman writes for BusinessWeek.com in New York. Helen Walters is the editor for BusinessWeek.com's Innovation and Design Channel.