Why The AI Craft Subcategory Matters

The AI Craft subcategory matters because advertising needs a better way to judge AI in advertising. A campaign may use artificial intelligence for speed, versioning, image generation, editing, prototyping or production support. That does not automatically make the work more creative.

The official Cannes Lions awards update describes the AI Craft subcategory as focused on work where human creativity meets artificial intelligence to create something neither could achieve alone. It also says the subcategory is not about the best use of AI as a tool, but about craft and artistry in work that could not exist without it.

That is the key point for agencies and brands. AI Craft at Cannes Lions 2026 is not about adding an AI claim to a case study. It is about showing how artificial intelligence shaped the concept, execution or impact of the work in a meaningful way.

AI Craft Is Not The Same As AI Usage

AI usage can be practical. AI Craft has a higher bar.

A team may use AI to create rough visuals, explore scripts, test copy, extend edits, produce variations or speed up design work. These uses may help the process, but they may not be central to the creative idea.

The AI Craft subcategory asks for more. The AI element has to matter to the final work. It should help create something that previous methods could not have achieved in the same way. In simple editorial terms, the work should be weaker without AI.

This is why the AI Craft subcategory at Cannes Lions 2026 is useful for the advertising industry. It separates AI as a production tool from AI as a creative material.

Where The AI Craft Subcategory Appears

Cannes Lions lists the AI Craft subcategory across Design, Digital Craft, Film Craft, Industry Craft and Creative Data Lions.

In Design Lions, the AI Craft subcategory is described as celebrating design work that could only exist because of AI, especially work that moves beyond conventional creative limitations.

In Digital Craft Lions, Cannes Lions says the AI Craft subcategory has been added to recognise craft and artistry in work that could not exist without AI, while not treating AI only as a tool.

In Film Craft Lions, the 2026 guidance says AI Craft has been added to recognise work that could not exist without AI but does not simply use it as a tool. The Film Craft Lions page also places the judging focus on execution.

In Industry Craft Lions, the AI Craft subcategory refers to work that uses AI to enhance traditional craft disciplines such as typography, art direction, copywriting and photography. The page says the work should push beyond conventional creative limitations and achieve outcomes that would be fundamentally unattainable through traditional methods alone.

Creative Data Lions are also part of the wider AI Craft update. Cannes Lions has refreshed Creative Data Lions for 2026 to focus on work where data fundamentally drives the creative concept, not only informs it.

Why This Is Important For Creative Teams

The AI Craft subcategory creates pressure for clearer thinking. Agencies cannot simply say a campaign used artificial intelligence. They need to show why AI was needed, what it changed, and how it improved the work.

That makes the human role even more important. AI can generate options, adapt assets and support production, but creative judgement still decides what is right for the idea. Someone still has to shape the work, remove the weak parts, protect the brand voice and decide what the audience will actually care about.

For brands, the risk is different. AI can make content faster, but it can also make brands look more similar. When many teams have access to similar tools, the advantage moves back to taste, clarity, identity and restraint.

The AI Craft subcategory keeps that distinction alive. It does not reward AI for being present. It rewards the creative value AI brings to the work.

What Strong AI Craft Work Should Prove

Strong work entered into the AI Craft subcategory should be able to answer a few simple questions.

• Was AI necessary to the idea?
• Did artificial intelligence shape the concept, execution or impact?
• Could the work have existed in the same way through older methods?
• Where did human creativity guide the final outcome?
• Did the AI element make the work better, or only faster?

These questions are important because AI in advertising can easily become surface-level. A campaign may look technically impressive and still feel empty. The strongest AI Craft work should not feel like a tool demonstration. It should feel like a creative idea that needed AI to exist.

A Better Standard For Artificial Intelligence In Advertising

The AI Craft subcategory at Cannes Lions 2026 gives the industry a more useful standard for artificial intelligence in advertising.

The question is not:
Did the campaign use AI?

The better question is:
Did AI make the idea stronger?

That question is direct, simple and useful. It protects the conversation from hype. It also gives creative teams a clearer way to talk about AI-led work without making exaggerated claims.

Cannes Lions 2026 has given AI a formal place inside specific award sections, but the real value is the standard it sets. AI in advertising will keep growing. Creative technology will keep changing how campaigns are made. But the strongest work will still need human judgement, craft and a reason to exist.

The AI Craft subcategory matters because it asks the right question at the right time. Not whether artificial intelligence was used, but whether it helped create better advertising.

This campaign is about:
AI Craft Subcategory, Cannes Lions 2026, Cannes Lions, AI in Advertising, Artificial Intelligence in Advertising, Creative Technology, Design Lions, Digital Craft Lions, Film Craft Lions, Industry Craft Lions, Creative Data Lions, Advertising Awards, Creative Awards, Advertising Innovation, Human Creativity, Advertising Awards.

Tactile paving has been part of urban infrastructure for decades. The standard system uses textured ground surfaces to help visually impaired people navigate pavements and crossings. Cemento Sol Sightwalks extends that system to carry destination information — something the existing format does not address.

How the Cemento Sol Sightwalks System Works

The tiles use a coded line pattern. Horizontal lines indicate the category of the adjacent establishment: two lines for a bank, three for a grocery store, four for a pharmacy. Vertical markers above and below those lines indicate which side of the street the venue is on. A person using a guide cane counts the lines and gets the information directly from the ground.

According to Circus Grey Peru, the system was developed in close collaboration with visually impaired organizations across Peru. Those groups were involved throughout — testing the tiles, validating the tactile vocabulary, and confirming usability in real urban conditions. The first implementation was in the Miraflores district of Lima.

The project addresses a gap that the standard tactile paving system leaves open. Existing infrastructure helps people move through space but offers no information about what occupies that space. Sightwalks is designed to fill that gap with a low-tech approach that requires no digital components.

Open Source by Design

Cemento Sol and Circus Grey Peru released the tile designs and patents as open source. Any city, municipal authority, or organization can adopt and replicate the system at no cost. As Designboom reported, the project is positioned as a model that other cities and countries can apply directly.

Gabriel Barrio, Commercial Manager at Sol Cement / UNACEM, stated that the idea had unanimous internal support from the moment it was presented. He described Sightwalks as a project that reflects the purpose of both Cemento Sol and its parent group, UNACEM.

Reach and Awards

According to figures shared by Grey, the implemented area has reached more than 75,000 square metres, with over 500,000 visually impaired people reported to benefit from the rollout.

At Cannes Lions 2024, Sightwalks received a Grand Prix alongside four Gold, two Silver, and one Bronze Lion. It also took a Grand Prix at the London International Awards that year, with six Gold, three Silver, and one Bronze. In 2025, the project received further recognition, including the One Show Grand Prix, nine Gold, and four Silver, among other awards across Clio, D&AD, El Sol, and ANDYs.

For an OOH campaign, the installation is the work itself. The tiles remain in place after the campaign period ends, so the system continues to function in Miraflores beyond the launch period.

Brand and Product Alignment

Cemento Sol’s core product is cement, and the Sightwalks tiles are made of cement. The project applies that material to a practical accessibility problem in the city.

Visual impairment is one of the more common disabilities in Peru. Instead of treating the issue as a one-off campaign message, Cemento Sol addressed it through infrastructure.

Credits
Brand: Cemento Sol / UNACEM
Agency: CIRCUS GREY
Global Chief Creative Officer: Gabriel Schmitt
Presidente & CCO Grey Latam: Diego Medvedocky
Global Head of Creative Excellence: Maru Sokolowski
Chief Reputation Officer Grey Latam: Florencia Kessler
Creative Chairman & CEO: José Rivera y Piérola
Chief Creative Officer (CCO): Charlie Tolmos / Piero Oliveri
Executive Creative Director (ECD): Gonzalo Aste
Creative Directors: Percy Rocha / Miguel Ucañán
Head of Content: Rodrigo Castro
Account Director: Vanessa Ortega
Account Supervisor: Lizet Gonzales / Vanessa Graham
Account Executive: Lorena Gómez / Yessica Ordoñez
Head of Production: Vanessa Gómez
Production Director: Kathy Santillana
Experience Agency: DINAMO
Chief Executive Officer: Sandra Goicochea
Account Supervisor: Cynthia Salcedo
Account Executive: Mariana Castro
Architectural and Designer Consultant: Luis Torres
Production Company: REBECA
Director: Mario Angulo
Assistant Director: Ducelia Woll
Executive Producer: Alejandro Noriega
Production Supervisor: Eduardo Guerra / Pierina Ravizza
Production Assistant: Gianella Bellido / Camila García
Director of Photography (Training Sessions): Didac Saez
Production Company 2: PUNTO APARTE
Camera 1: Mario Bertocchi
Camera 2: Alonso Gutiérrez
Executive Producer: Lucho Vargas
Production Assistant: Ana Pau Quintana
Editor & Post Producer: José Pacheco
3D: MIDAS ART David Vega
Audio Company: Agosto Music & Sound Craft
Music Director: Claudia Incio

UNACEM:
Commercial Manager: Gabriel Barrio
Marketing Manager: Claudia Rivero
Marketing Director: Maria José Arredondo
Marketing Coordinator: Camila Acuña
Trade Marketing: Fátima Armacanqui

This campaign is about:
Cemento Sol Sightwalks, Cemento Sol, UNACEM, Sightwalks Campaign, Circus Grey Peru, Tactile Paving, Visual Impairment, Inclusive Design, Accessibility, Urban Design, OOH Campaigns, Outdoor Advertising, Experiential Marketing, Social Impact Campaign, Innovation in Advertising, Public Infrastructure, Open Source Design, Cannes Lions, Creative Advertising, Peru Advertising.

According to research, Italian women take on approximately 70% of childcare responsibilities and 56% of household chores. The global pandemic only intensified these challenges, forcing many women to juggle remote work, home-schooling, and household duties—all while ensuring their families stayed safe and cared for.

Recognizing this immense effort, Rolling Stone, one of the world’s most iconic rock music magazines, decided to shine a spotlight on the real rock stars of the pandemic: mothers. Renowned for advocating equality and inclusion, Rolling Stone collaborated with VMLY&R to create a powerful campaign that redefined what it means to be a rockstar in today’s world.

The Birth of the Rockin’ Mamas Campaign

Traditionally, rockstars are known for their wild nights, rebellious spirit, and electrifying stage performances. But during the pandemic, the ultimate rockstars weren’t in concert arenas—they were at home. The Rockin’ Mamas campaign was a bold and heartfelt tribute to mothers who balanced work, home-schooling, night feedings, and endless responsibilities. These women proved that resilience, dedication, and unconditional love are what truly define a rockstar.

A Tribute to Motherhood Through Film

At the heart of this campaign was a 90-second film, masterfully directed by internationally acclaimed, award-winning director Ali Ali. Rather than casting professional actresses, the film featured real mothers from diverse backgrounds, embodying the raw and unfiltered reality of motherhood during the pandemic. One of the standout voices in the project was British singer DeeLayDee, whose soulful narration added depth and emotion to the tribute.

A Message Beyond Music

More than just a celebration, the Rockin’ Mamas project sought to raise awareness about the overwhelming pressures mothers faced during the pandemic. By aligning with Rolling Stone’s broader mission of covering issues beyond music, the campaign encouraged meaningful conversations about gender roles, equality, and the importance of recognizing the unpaid labor many women endure daily.

Global Recognition and Impact

The campaign resonated worldwide, earning prestigious accolades at major advertising festivals, including the Eurobest Festival and the D&AD Awards. It also secured the Print & Publishing Silver Lion at Cannes Lions, a testament to its powerful storytelling and social impact.

Conclusion: Mothers Are the Ultimate Rockstars
The Rockin’ Mamas campaign served as a wake-up call and a well-deserved tribute to mothers everywhere. Their tireless efforts, sacrifices, and unwavering strength prove that true rockstars don’t just perform on stage—they perform every single day, in every home, around the world.

By celebrating motherhood in this unique and compelling way, Rolling Stone and VMLY&R have reminded the world that real rock legends aren’t just those with guitars in hand, but also those holding their children, managing households, and making sacrifices for their families.

Credits
Advertising Agency: VMLY&R, Italy
Production Companies: Movie Magic International, Good People
Music And Audio: Operà Music
Chief Creative Officer: Francesco Andrea Poletti
Creative Directors: Nicoletta Zanterino, Cinzia Caccia
Copywriters: Nicoletta Zanterino, Martin Peters Ginsberg, Ali Ali, Riccardo Baita
Art Directors: Cinzia Caccia, Lorenzo Croci
Business Development Director: Barbara Ruscio Levi
Editor-in-Chief Rolling Stone Italia: Alessandro Giberti
Business Development Manager Rolling Stone Italia: Matteo Berciga
Marketing Manager Rolling Stone Italia: Veronica Dolce
Director: Ali Ali
Partner: Movie Magic International
Executive Producer: Giorgio Borghi
Executive Producers: Anna Lisa De Maria, Sarah Touma
Producers: Alessandro Naboni, Veta Chatziioannou
Dop: Pierre Mouarkesh
First AD: Dzovig Torikian
Wardrobe: Anna Zotou, Evelina Darzenta
Art Department: Maria Kalahari
Make-up: Varvara Sevdali
Gaffer: Michalis Christoforatos
First AC: Philippos Kokkalis, Vangelis Kolokithas
Editor: Neda Zag
Colorist: Karim Mira
Conform And Online: Hogarth Worldwide Italy
Partner / Project Manager Operà Music: Cristiano Joyeusaz
Partner / Mixing Engineer / Sound Designer Operà Music: Marco Massimiliano Peretti
Music Coordinator/Project Manager Operà Music: Francesco Menegat
Project Manager Operà Music: Daniela Chiara
Composer / Music Producer Operà Music: Alessandro Ciani
Voice Over Artist: DeeLayDee / I’m Not A Machine
Recording Engineer: Matt Cotterill
Contributors: Beth Wade, Theresa Notartomaso

1 out of 8 women has breast cancer. Yet, more cases could be detected early if more women are self-checked. Because we know how hard it can be to talk about breasts or cancer, traditional Lebanese baker Um Ali helps us demonstrate how to self-check in total respect of our culture and intimacy: kneading and pressing dough.

Award: Cannes Lions 2021 PR Grand Prix, Cannes Lions International Festival of Creativity

Credits
Advertising Agency: McCann Health, McCann Paris
Production Company: Satellite my love / Paris, Octopus, Craft
Client: Spinneys Supermarkets, Lebanese Breast Cancer Foundation
Tags: American University of Beirut Medical Centre, British Islamic Medical Association, Weber Shandwick, World Cancer Day, Breast Cancer

 
The US has some of the most expensive cellular data plans in the world. Xfinity Mobile, however, is a new kind of network designed to save people money.

Xfinity Mobile is turning pre-roll ads into price tags by calculating how much money people are spending on data to stream an upcoming YouTube video to show how overpriced other plans are in their Data in Dollars campaign.

For example, if someone is about to watch a five-minute beauty-tutorial video, they are shown an ad that tells them, “The next tutorial could cost you up to $1.06 cents in data. So switch to Xfinity Mobile and save.”

The prices shown in each film change depending on the length of the video the person is about to stream and the cost of data with their specific carrier.

Awards
Clio Awards Silver
Webby Awards Winner
YouTube Works Award
Cannes Lions

Credits
Campaign: Data in Dollars
Holding Company: Omnicom Group
Agency: Goodby Silverstein & Partners, San Francisco
Client: Xfinity Mobile, Philadelphia | Website
Production Company: Thinking Machine, Los Angeles | Website
Production Design: All Valley Yacht Club | Website
Country: United States
Medium: Digital Advertisment | YouTube Works – YouTube Advertising
Category: Digital Innovation

Thai Airways is handing out up to 3 million free miles to its members in its latest ad campaign. But there’s a caveat – they have to stay at home.

The campaign, created by Wunderman Thompson, encourages the airline’s members to stay at home during the coronavirus pandemic (COVID-19). At the same time, the airline hopes members will use the downtime to plan for their travel beyond COVID-19.

Members with an active Thai Airways frequent flyer membership (Royal Orchid Plus) need to download the Stay Home Miles Exchange app on their device to participate in the promotion. The app uses geolocation technology to determine if the user stays home.

Credits
Agency: Wunderman Thompson

Awards:
D&AD Graphite Pencil in Print
Cannes Lions Shortlist in Print
WAVE Silver in Print
EL SOL Silver Award in Print
One Show Merit in Magazine Campaign

Credits
Client: The Womanity Foundation
Campaign: Don’t Blame The Clothes
Advertising Agency: J. Walter Thompson, Brazil
Chief Creative Officers: Rodrigo Grau, Ricardo John
Executive Creative Director: Humberto Fernandez
Creative Directors: Mariana Borga, Erico Braga
Art Director: Gabriella Marcatto
Copywriters: Mariana Borga, Eveline Farina, Mariana Carvalho
Account: Thiago Galdi, Caroline Amaral, Enrico Cavallari, Luisa Tofeti
Media: Camila Bertoli, João Dabbur, Gabriela Amato, Nathalia Silva
RTV Director: Márcia Lacaze
RTV Producer: Patrícia Motta
Photographer: Gabriel de Moura
Production: PICT Estúdio
Client Approval: Tiana Vilar Lins

This campaign is about:
Award winning print campaign, Print ad, Awareness campaign, JWT, Creative Advert, Creative Campaign, Creative Advertising

To engage its core audience, Volkswagen needed an idea to promote how it makes car journeys more enjoyable for families. Children are increasingly looking at screens for entertainment in car journeys, so how could the automotive brand use technology to stimulate children’s imagination while traveling?

We created a digital product and a campaign that used location-based interactive audiobooks to transform ordinary road objects into a story’s magical characters. ‘Road Tales’ uses a custom-developed story-engine that creates unique tales based on the user’s location. To ensure the stories react to the environment, the team scanned all Dutch highways to identify objects like bridges, windmills, trees, petrol stations, and other prominent objects to transform them into story elements.

The app reached number one in the app store within 24 hours and won six Silver Cannes Lions in Entertainment, Brand Experience, Audio, Digital Craft, and Mobile.

Credits
Manager Marketing Communication Volkswagen: Berno Schokker
Team Manager Marketing Communication: Eric Bun
Brand Communication Manager: Laura Derks, Karin Sijbring
Agency: ACHTUNG! mcgarrybowen & Kraftwerk – Linked by Isobar
Executive Creative Director: Mervyn Ten Dam, Daniel Sytsma
Creative Director: Samyr Souen & Kika Douglas
Senior Creative: Wilmar Versprille & Matthijs Groos
Junior Creative: Lieve Eek
Account Manager: Dirk Jan de Krom
Strategy Director: Boris Nihom
Strategy: Gerben van der Zwaard
Head of Production: Sam van der Zanden
Content Producer: Souraya El-Far
Digital Producer: Kim Do
Designer: Joost Huver & Jack McAuliffe
Design director: Roy van Dijk
UX design: Falco Negenman
Illustrator: Mario Niveo
Production Company: Since ‘88, Round Trip, Robot Kittens
Sound design: Big Orange
Writers: Joke van Leeuwen, Daan Remmerts de Vries, Babette van Veen & Herman van Veen, Wilmar Versprille & Matthijs Groos

This campaign is about:
Volkswagen Road Tales, Volkswagen Snelweg Sprookjes, dentsuACHTUNG!, Netherlands, Innovation, Education

Xbox Adaptive Controller caters to the needs of gamers with disabilities. To promote the new product Microsoft came up with Changing the Game. What started with a two-minute film during the Super Bowl became a talk of a nation and resulted in a massive grow in Microsoft’s social voice. The campaign won the Grand Prix in Brand Experience & Activation during this year’s Cannes Lions.

Source

This campaign is about
Brand Identity, Social Impact, TV, Brand Innovation, Super Bowl Ad, Changing The Game, Technology, Product Innovation, McCann Worldgroup, Hungry Man

When you look at fashion and beauty media coverage, you notice an unwavering trend: Youth. While 40% of Women are over 50, only 15% are represented in the media. No wonder these women feel invisible. Age discrimination is a serious issue across all media industries. So, L’Oreal Paris created The Non-Issue: an 80-page print campaign in the form of an actual Vogue that makes age a “Non-Issue.” It’s everything you’d expect from Vogue, and all the content was made by and dedicated to women over 50. All the models and contributors are over 50.

The articles, fashion shoots and features all treat aging as a normal aspect of everyday life, making the topic relevant for every age group of readers. The content ranges from career stories to personal anecdotes to advice about menopause. And, of course, the Cover. In April, 220,000 copies hit the newsstands. Page by page, the message spread across the world, putting women over 50 back in the spotlight. In less than one month, the Non-Issue had reached greater coverage than Vogue’s most successful September fashion issue.

Credits
Advertising Agency: McCann Paris
Campaign: The Non-Issue
Client: L’Oréal Paris

This campaign is about:
Cannes Lions, Digital Campaign, Print, Print Advertising, Magazine

Credits
Client: March For Our Lives
Campaign: Generation Lockdown
Amanda Conlee, Director of Operations
Ryan Deitsch, Co-Founder & Content Creator
Lauren Hogg, Co-Founder
Robyn Mohr, Deputy General Counsel
Precision Strategies
McCann New York
Eric Silver, Chief Creative Officer, McCann North America
Devika Bulchandani, President, McCann New York
Sean Bryan, Co-Chief Creative Officer, McCann New York
Tom Murphy, Co-Chief Creative Officer, McCann New York
Pierre Lipton, Global Executive Creative Director, McCann New York
Marco Pupo, Executive Creative Director, McCann New York
Karsten Jurkschat, Creative Director, McCann New York
Alex Little, Creative Director , McCann New York
Nathy Aviram, Chief Production Officer, McCann New York
John McAdorey, Executive Producer, McCann New York
Gabrielle Levy, Producer, McCann New York
Jeremy Miller, Chief Communications Officer, McCann Worldgroup
Danielle Korn, Director of Business Affairs, McCann New York
Kimberly Kress, Director of Talent Partnerships, McCann New York
Wilmien Blake, Director of Business Affairs, McCann New York
Terry Marcello, Director of Talent Payment, McCann New York
Bristol Parrish, Senior Project Manager, McCann New York
Film production: Hungry Man
Director: Bryan Buckley
EPs: Mino Jarjoura, Kevin Byrne, Caleb Dewart
Producer: Matt Lefebvre
Production Manager: Sherra Fermino
DP: Scott Henriksen
Editorial: NO6
Editor: Jason Macdonald
Editor: Justin Quagliata
Executive Producer: Corina Dennison
Post Producer: Malia Rose, Laura Molinaro
Assistant Editor: Tripp McCarty, Scott Zeitlen
Finishing: NO6
Flame: Ed Skupeen
Flame Asst: Mark Reyes
Color: Steve Picano
Finishing: The Mill/LA
Flame: Tom Graham
Creative Director: Phil Crowe
Producer: Marie O’Brien
Executive Producer: Anastasia Von Rahl
Audio Post: Sonic Union
Audio Engineer: Brian Goodheart
Audio Mix Assistant: Kelly Oostman
Audio Producer: Pat Sullivan
Audio Producer: Justine Cortale
Music: Duotone Audio Group
Executive Producer: Ross Hopman
Composer: Brad Fischer
Clearances provided by: STALKR
Executive Producer: Colleen Cavanaugh Anthony
Producer: George Alvarez
Project Manager: Natalie Stowell
Researcher: Niko Savich
Researcher: Craig Phillips

Tags:
Generation Lockdown, Awareness Campaign, Digital Film, shorty awards, Gun violence, McCann, Best Social Media Campaign, International Festival of Creativity, Cannes Lions, Grand Prix

Dutch music agency Sizzer and German animation studio Sehsucht didn’t give in to the cancellation of Cannes Lions but interviewed 60 (!) people via Zoom, created an awesome music video and organized the virtual release party last week instead. The theme: that what binds us all, love. ‘It was so great to catch up with everyone!’

Credits
Advertising Agency: Sizzer & Sehsucht, Amsterdam, Berlin, Hamburg, Munich, Germany
Music House: Sizzer
Music Supervisor: Nitzan Hoffmann
Business Designer: Ivan Flugelman
Office Manager – Jack Of All Trades: Dion Holla

Tags:
Zoom Video Call, Cannes Lions International Festival of Creativity, Agency Self-Promo, Music, Sizzer & Sehsucht, Technology, Innovation, Digital

“With the French Riviera as a backdrop, our Facebook Stories Xperience successfully persuaded Cannes Lions attendees for the creative potential of Stories. Inspiring brands to embrace the medium, the installation highlighted the creative capabilities of ephemeral vertical content. We created a setup with 12 mechanically moving screens that could come together in different formations to show the big picture. Passersby control the screens and display bespoke animations and curated content that show how to do Stories best. From the creative concept, structural and sound design to hardware and software development, we brought everything together in a compelling story.” – MediaMonks

Credits
Client: Facebook
Agency: 72andSunny
Production Company: MediaMonks

Tags:
Facebook, Digital, Social Media, 72andSunny, MediaMonks, Facebook Stories Xperience, Cannes Lions, Outdoor

Credits
Agency Network: Serviceplan
Holding Company: Serviceplan
Production Company: Paulus Co. Ltd
Advertiser Brand: Dot Incorporation
Entrant Company: SERVICEPLAN GERMANY / SERVICEPLAN KOREA
Design Company: cloudandco
Global Chief Creative Officer: Alexander Schill
CEO: Eric Ju Yoon Kim
CDO: Jae-Seong Joo
CDO: Ki Sung
Senior PR Marketing Manager: Ahrum Choi
Global Partnership Manager: Jimin Ryu
Creative Director / CCO: YeongKyu Yoo
Designer: KiHwan Joo
Designer: YoungWoo Choi
Graphic Designer: Nara Ok
Creative Innovation Director: Franz Roeppischer
Creative Innovation Director: Lorenz Langgartner
Art Director: Saurabh Kakade
Art Director: Pedro Gropo
Editor: Dennis Fritz
Editor: Hendrik Sommerfeld
Artist VFX & Animation: Robert Csakvari
CEO: Julie Kang
Copywriter: Yoon Seo
Art Director: Jihyun Seo
Senior Account Manager: Yujin Ko
Account Executive: Yerim Kim
Executive Creative Director: Bill Yom
Chief Content Director: Jongpil Yoon
Client Service Director: Stone Kang
Producer: Kyungsin Kim
Director: Dahoon Chung
DOP: Yongsang Cho
Production Assistant: Kwak Yechan
Cinematographer: Sungjun Bang
Cinematographer: Gunyoung Oh
Line Producer: Jungtaek Oh
Corporate Communications & Brand Manager: Susan Kim
International Account Director: Diane Schulz

Tags:
Cannes Lions, D&AD Impact, Clio, Serviceplan Group, Visually Impaired, Dot Mini, Technology, Braille, Smartwatch, Innovation, Dot Braille Smartwatch

What followed the press conference was a caravan of 72 school buses that embarked on the roads of Atlanta with a powerful message about Child sex trafficking in the state of Georgia. The idea was conceptualized by the marketing firm BBDO Atlanta, and the message it delivered was simple. Each bus represented 50 kids that are subjected to sex trafficking in Georgia. The chain of 72 buses symbolized the estimated number of 3600 kids in the American state who are victimized by sex traffickers.

The aftermath of the campaign brought the topic that nobody wanted to talk to the front and centre of the public eye. The Facebook engagement for the campaign turned out to be enormous. #StopTraffick also became the trending topic on Twitter. Furthermore, the campaign amassed 43 million social media impressions within the brief timespan of 48 hours. Decals associated with the campaign were also inserted in different parts of Atlanta. They acted as portals that provided access to various online resources. The campaign’s website provided an avenue for reporting sex trafficking as well as access to help and support for victims.

Stop Traffick — Case Study

All in all, the campaign proved that government agencies could also use the power of marketing to bring about positive change.

Credits
AGENCY: BBDO Atlanta
Client: Street Grace
Campaign: #StopTraffick
Global Chief Creative Officer: David Lubars
Chief Creative Officer, Atlanta: Robin Fitzgerald
Senior Copywriter: Emily Miller
Senior Art Director: Lauren Culbertson
Art Director/Designers: Sara Lowe, Hayley Efird
Head of Production: Marc Calamia
Integrated Producers: Reid Howard, Stacey Coker
Senior Developer: Brandon Jones
Senior Project Manager: Becky Ocampos
Head of Account: Tami Oliva
Account Executives: Shannon Collins, Lauren Herstik
Business Manager: Meredith Thornhill
Production and Editorial: Bark Bark
Editorial: Hero Post
Sound Design: Jamie Shepard
Print Production: Color Spot
Public Relations: Porter Novelli

Tags:
BBDO Atlanta, Street Grace, Atlanta Police Department, Human Trafficking, Stop Traffick, Sex Trafficking, Child sex trafficking, Cannes Lions, Outdoor, Awareness Campaign, OOH Advertising, Best Outdoor Advertising Campaigns, Best OOH campaigns, Best Outdoor Ads, Gwinnett County Public Schools