Australia collects one Silver award and four Bronze at the 2017 Epica Awards in Berlin

lead_960-thumb-400x266-257962.jpgThe 2017 Epica Awards have been presented in Berlin, with Grand Prix winners from Canada, the United States, Poland, Germany and France. The jury decided to award two film Grand Prix this year, one for a film supporting a nonprofit organisation and one for a commercial for an online retailer.

McCann Worldgroup has taken out the Network of the Year title and BBDO New York was named Agency of the Year.

Founded 31 years ago, Epica is the only worldwide creative award judged by journalists from the marketing, design and advertising press Including Campaign Brief representing Australia and New Zealand), as well as specialist reporters in fields ranging from production to VR and luxury branding.
Cochlear-in-disguise-sml_670 (1)-thumb-400x257-262355-thumb-400x257-267181.jpgAustralia picked up one Silver and four Bronze at the 2017 Awards. CHE Proximity led the Australian agency pack winning a Silver for Cochlear 'The Hearing Test In Disguise' and a Bronze for Velocity Frequent Flyer 'The Billion Point Giveaway'. Aussie agencies scoring one Bronze Award each include Innocean Worldwide Australia for Hyundai 'Binoculars', Fenton Stephens for Master Builders Association of Victoria 'Tap Fail' and Paul Gawman for News Corp 'Flail - Renewable energy'.

Says Spencer Baim, Epica jury president and chief strategic officer of Vice Media: "This year more than ever, brands have a resposibility to put a positive message out into the world. Our winners do that, while also representing the best of branding, messaging, storytelling and smart design."

The Digital Grand Prix was won by BETC (France) for its much lauded "Like My Addiction" campaign, featuring a fake Instagram influencer who turns out to be an alcoholic.

Scholz & Friends from Germany won the Press Grand Prix with a simple yet powerful image that builds stacked newspapers into a visual pun featuring a bullying Donald Trump.

Says Matthias Spaetgens, chief creative officer of Scholz & Friends: "Winning a Grand Prix for our campaign for the newspaper Der Tagesspiegel makes us feel extremely happy, especially when the creative work is not judged by the creative industry itself but by critical journalists."

Says Stéphane Xiberras, executive creative officer at BETC Paris: "It is a great honour to win the Digital Epica Grand Prix this year and a great recognition of our work. It is particularly significant for us since the Like my addiction campaign partly owes its success to its massive international press coverage, which made it possible to turn this Instagram page into a global campaign, and most importantly, to raise awareness about the danger of addiction on a worldwide scale."

The Outdoor Grand Prix went to McCann New York for the widely celebrated "Fearless Girl", who faces down the famous bull on Wall Street in what began as a symbol of female leadership for State Street Global Advisors and turned into an icon that captures a turning point in history.

The Design Grand Prix went to KBS Canada for its "living" logo for Innocence Canada, an organisation fighting to free wrongly convincted prisoners.

Says Matt Hassell, chief creative officer, KBS: "We knew immediately that this design work needed to acknowledge the past exonerees, the current staff and donors. The logo itself was created to reclaim the typical prison tally marks to express both a human touch and progress towards overturning wrongful conviction. In this way, it serves as a measurement of success and a reminder that much work is still to be done."

There were two Film Grand Prix this year as the jury wanted to award both a stunning public interest film and a superbly crafted commercial.

"Evan" by BBDO New York cunningly misdirects the viewer to watch an unfolding school romance while a shooting is being prepared, unnoticed, in the background.

"English for Beginners" by Poland's Bardzo is a warm, witty and beautiful spot for (the Polish equivalent of eBay) about an older man who painstakingly learns English so that he can communicate with his new grand-daughter when he visits London.

Says Hubert Stadnicki, founder, owner and creative director, Bardzo: "As Epica is the only festival with a jury of marketing journalists, we can be sure our campaign was judged by people with a thorough, up to date and possibly the widest knowledge of the marketing world." He added that the campaign was by no means created to win awards. "It was made for our client to a specific brief. It met all the marketing objectives and before being entered for festivals had been loved by millions of viewers around the world."

Entrants & Entries by Country
This year Epica received 3350 entries from 71 countries, down on the previous year due to the Publicis awards hiatus and a lower participation by WPP agencies. Having said that, twice as many entries were received from China and Taiwan, 50% more from Malaysia and three times as many from Poland. New countries this year included Pakistan and Kenya.

Rob Reilly, global creative chairman from McCann Worldgroup said: "The Fearless Girl became a media sensation in a way we never anticipated, in a very organic way. What made it so powerful was the amount of support we received from people who recognized the importance of what she stands for and kept driving the conversation forward, during a time when people are striving to reshape existing norms to better reflect their moral values".

Results by Country
The United States was top in the country rankings with 63 awards including 10 golds, followed by France and the UK. You will find full details of all the winners on our website at www.epica-


Alf Stewart said:

Here's a task:
Go outside. Stop 10 random people in the street and ask them which brand/product/service/organisation Fearless Girl is representing. You can even show them a picture of the installation to try and prompt their memory.
Wait for their answer.
Then remember, according to many award shows, this is the best piece of outdoor commercial communication for the past year.

Now ask yourself if the ad industry is simply talking to itself.

Account Circus said:

Fearless Girl? You mean that installation that took a much-admired artwork of NYC, and co-opted it to represent the fight against shitty men, rather than leaving it to represent the unbreakable American spirit and resilience during the crash, really pissing off the original artist?

The same Fearless Girl that was promoting a financial product by the kind of company staffed by those same shitty men? The kind of company that has been proven to have a wage gap, and paid out a settlement because of the same wage gap?

@Alf Stewart. said:

Outside here or in NYC?
Deal with it mate.

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