Meet Spikes Asia's presidents

Now entering its second year, Spikes Asia Advertising Festival, jointly organised by Cannes Lions and Haymarket Asia, will set out to highlight and reward the best creative work that the region has to offer.

Judging the entries will be six internationally acclaimed industry figures at the top of their careers, across categories including TV and Cinema, Print, Outdoor, Radio, Digital, Integrated, Direct and Sales Promotion, Media, Craft and Design.
This year will see the festival condensed to ensure that delegates benefit from an inspirational world-class programme without diverting a large amount of time from their business.

In addition, lower delegate registration fees will be offered to enable broader attendance. Delegates will be encouraged to attend and participate in a range of seminars, workshops, exhibitions and screenings, as well as networking events. Cannes Lions chairman Terry Savage described the festival as an opportunity to "learn from the best in the world".

Agencies from Australia and New Zealand will once again be eligible to enter the running for awards, while a Young Spikes Media Competition will be introduced to complement the existing Young Spikes Integrated Competition.

A Young Marketers Registration will also be implemented to encourage and support young professionals in the field of marketing.

Full programme details are accessible online at www.spikes.asia.

DAVID LUBARS
Chairman & CCO
BBDO North America
I couldn't be more honoured or excited to be taking on this role. It's a great opportunity for us all to learn from and be inspired by brilliant work. I can't wait to see the new stuff that everyone in the region has been doing.

I hope there aren't any trends. By definition, the word 'trend' means a bunch of people are already doing the same thing; it's the enemy of what we hope to see. The biggest mistake people make is entering work that feels similar to what's happening 'in the moment'. Using an on-trend approach will lead to your stuff getting broomed more quickly than usual.

The judges are looking for something they've never seen before: something that makes you sick with jealousy because it's so smart, so convincing, so human, so great a solution.

A lot of creative work tends to pollute culture. Not just advertising, everything, from books to movies to music. That's why work that enhances culture stands out, and why a high percentage of it is successful. That's what we should recognise.

It's important to be loved by the people who you're asking to spend their money. We and our clients must always remind ourselves that brilliant creativity is able to bring disproportionate results; that it is an economic multiplier.

Clearly, some of the best work in the world is being done in Asia. But judging here is the same as judging
everywhere, really. Not every entry is going to be an award winner, but certain things will stand above the rest and blow you away. Every important awards show around the world functions like that, and that's ultimately why it means something to win.


BOB GREENBERG
Chairman, CEO & CCO
R/GA

Sitting on a jury gives me tremendous insight into creative work, as well as allowing me to get to know the other judges. It is especially thrilling this year as we are just opening our R/GA Singapore office and this show is a terrific opportunity to get a feel for the country, its people and the region. I expect to learn a lot and hope that that the design jury will uncover a new gem.

Design has always been integral to R/GA and I have a personal interest in the ways that it influences businesses. Unfortunately, design is still not considered an important part of the advertising business, but it should be. Part of the issue is that design, as an industry, must transform and adapt a new model just as the advertising industry is doing. Design needs to be integrated into the overall marketing strategy, so it becomes an integral part of the brand. As this starts to happen, I believe we will see more innovative design work.

Generally I find the creative coming out of Singapore, Japan, Thailand, Malaysia or Korea inspirational. Part of my reason for judging this show is to take the opportunity to better understand the region's work and culture and how design impacts regional and local advertising. Judging at the Spikes is an opportunity to learn more about how design is regarded in Asia. I have found cultural differences produce interesting work, particularly here, where the strong influence of technology creates work that can be both wacky and beautiful.

There are a number of elements critical to award-winning work. At best, it should be transformative: it should help change the client's business. At least, it should contain a number of other qualities including innovation, usability, utility and graphics. As a jury, we will be rigorous in looking for the best and brightest executions.


REI INAMOTO
CCO
AKQA

As a consumer, I don't really like advertising. I usually try to avoid it. But digital has become so influential that people and brands cannot ignore it. I liken the current situation to that 500 years ago when the printing press was invented. Digital has forced more change than any other category over the past decade. It is making people behave differently, and that is more fundamental than TV in my opinion.

I haven't been exposed to that much work from Asia, but it's clear that brands are paying huge attention to social media, and that this has gradually become a viable channel for marketers to use. We are also beginning to see more of a fusion between communications and product. Japan has led the way in terms of integrating digital into other communications platforms, as in examples like Uniqlo's 'Uniqlock' and Sagami's 'Love Distance', but China is catching up.

There are limitations in certain markets, but limitations can push creativity. The examples that shine the most are not necessarily those with the biggest budgets, but those that have forced people to be creative.

I intend to be tough but fair. It's important to be tough, but being tough without a reason is unfair. My bar might be different from that of other judges, but I believe we should all look at the work through our own lens.

First and foremost, I will be looking for good ideas. Concepts are key; the next thing is craft, and the third is context-placement and how people are experiencing the communications.


WILLIAM ROSEN
President & CCO, North America
ARC Worldwide

The direct and promo categories represent the future. As technologically empowered creativity enables more fluid one-to-one engagement, and equally fluid disengagement, the challenge of truly involving people in branded experiences cannot help but move to the forefront. The creative currency then quickly becomes the ability to leverage insights into individuals to create incentives for participation in brands with purpose. In short, the very definitions of world-class direct and promotion activation work. I expect to see a continued blurring of the lines between disciplines such as digital, direct, promotion and retail marketing.

I rank Asian direct and promo among some of the most innovative and inspiring in the world. Spikes attracts and rewards the best creative from a region that is demonstrating with growing consistency its rightful reputation as an industry leader. From clever applications of new technologies to inspired solutions with no technology, it is difficult to find a part of the world more closely associated with marketing innovation and inspiration.

I'll be looking for innovative creative that uses all the tools at our disposal to engage people in a way that reflects a brand's true purpose. The work should engage people in a manner that demonstrates the brand's role in their lives.

Great work is great work, and our jury will be recognising and rewarding only the best of the best. I expect our winners to demonstrate the power to change behaviour in a branded way.


AKIRA KAGAMI
Global executive creative advisor
Dentsu Inc

Our world is changing at a tremendous speed. While our attention is caught by new developments in media, we can easily dismiss the significance of craft. But there will always be a need for it. Asia is home to a rich variety of cultures, and I am expecting to see a wide range of work from many different sources. Indeed, craft in Asia is characterised by techniques that have a diverse cultural background, innovative ideas and a uniquely individual touch. The way that the latest technologies are assimilated is also distinctly Asian.

I will be evaluating technique, cultural background and completeness. I hope that this year's craft category will feature work that is contemprary yet traditional, and Asian yet universal.
I believe that the Craft jury president must deliver results that will raise awareness of the value of craft. To achieve this, each of the jurors must clearly state his or her opinion. My most important role as jury president is the constructive collation of these arguments. Rather than simply being tough, I intend, to the best of my ability, to be a positive juror.


JON WILKINS
Global founder
Naked Communications

I'm looking forward to getting a bird's eye view on thinking and execution across the region. It's a privileged position. I'm a relative novice in Asia and I don't have a feel for all the markets yet, but I think it's safe to say that the best work in Asia is as good as anywhere in the world, and it's the job of awards shows to drag the industry forward. Some markets are not as tech-literate as others, but the less developed markets have done a good job of driving brand expression.

There are no major differences beyond the adoption of technology.

I'm expecting to see people embracing new technology and new ways of reaching the customer. It's always interesting to see how fast agencies are at picking up on new opportunities and translating them for clients. Above all, I'll be looking for real work that has made a difference-as opposed to stunts and scams-and for innovation and efficacy. It's wonderful to see things you wish you had done, and I'll be looking for that feeling. And I'm going to ensure that the best work wins.

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This article was originally published in the 20 May 2010 issue of Media.