Haha, love this little idea:

Describe the brief from the client:

For more than 40 years, Hot Wheels products have been a children´s favorite. Although extremely fun, tracks don´t have the immediacy and portability of playing as cars do. How to invite kids to play with Hot Wheels cars and tracks whenever, wherever?

Creative Execution:

The Track Tapes promotes the main values of the brand, such as fun, immediacy and portability by making the consumer experiment them by themselves. Better than saying that a brand is fun, is to make consumers have fun with it. With 0$ of media investment, the Track Tape became media by itself. Placed exactly where the target is by the own target. Besides, while the Track Tape remains placed where the children used the tape, it works as an outdoor ad, inviting other children to play with Hot Wheels cars, generating even more brand experiences and consume occasions.

Describe the creative solution to the brief/objective.

We found that the best way to achieve this was not a campaign, but a product. We developed an economic and simple product: an adhesive tape that transforms every place into a Hot Wheels track. Packs with the HotWheels website were handed out to schools.

Describe the results in as much detail as possible.

We generated a unique brand experience with the target market, by creating a product that can transform every single place into a Hot Wheels track. It was such a success in terms of awareness, and consumer response, that Mattel decided to add the Track Tape to the Hot Wheels´ product portfolio. The case still in course, so the main results can not be shared yet. We are looking forward to publish the Track Tape complete results at the 2012 Effectiveness Lions.

Advertising Agency: Ogilvy, Mexico
Chief Creative Officer: José Montalvo
Executive Creative Director: Miguel Angel Ruiz Reyes
Creative Directors: Victor Alvarado, Fernando Carrera
Art Directors: Victor Alvarado, Fernando Carrera
Copywriters: Fernando Carrera, Victor Alvarado
Advertiser’s Supervisor: Giancarlo Melloni
Planner: Javier Macías
Account Manager: Alejandra Gómez
Account Supervisor: Pilar Troconis
Producer: Juan Pablo Osio

Woops: http://showcase.designinmainz.de/detail/de/18940/#info002

http://adsoftheworld.com/taxonomy/awards/cannes_lions_2011

http://www.canneslions.com/work/

The Tomorrow Awards is the first international award show dedicated to discovering, showcasing and awarding advertising creativity that pushes new technological boundaries. Since the very best examples of such work are those that defy standard award show categories, the Tomorrow Awards is category-neutral; all entries are judged together, and only the very best ideas shine brightest…

http://tomorrowawards.com

09/04/2009

New York, NY – In the light of the recent events surrounding the “Tsunami Ad” created by DDB Brazil for WWF, the One Club announces today that we will implement what we believe to be the most stringent and thorough “fake ads” policy in our industry.

The One Club defines “fake ads” as: ads created for nonexistent clients or made and run without a client’s approval, or ads created expressly for award shows that are run once to meet the requirements of a tear sheet.

For 2010 and onwards, the One Show will be adopting the following new rules and penalties.

1. An agency or regional office of an agency network that enters an ad made for nonexistent clients, or made and run without a client’s approval, will be banned from entering the One Show for 5 years.

2. The entire team credited on the “fake” entries will be banned from entering the One Show for 5 years.

3. An agency or regional office of an agency network that enters an ad that has run once, on late night TV, or has only run because the agency produced a single ad and paid to run it themselves*, will be banned from entering The One Show for 3 years.

* The One Club reserves the right to review ‘late-night, ran-once’ and launch versions, at The One Club’s discretion. If it is determined that the ad was created expressly for award show entry, the penalty will hold.

The One Club exists to champion excellence in advertising and design in all its forms. We will stringently enforce these rules and penalties to ensure that The One Show remains the pinnacle of advertising and design created for marketers and brands.

The One Show encourages other international award shows to follow suit with similar policies. In addition, we are in the process of developing an initiative in the agency, client, and creative communities, in which individuals and agencies will be called upon to monitor and eliminate “fake” ads at their source. A detailed guidelines will appear in the 2010 One Show Call for Entry.”

Kevin Swanepoel
President
The One Club

For further information please contact: Kevin@oneclub.org

Source: http://www.oneclub.org/oc/press/?id=112

Just read this nice comment on awards by Jeff Goodby. Here’s the article in full, copied from AdAge.

Jeff Goodby: ‘We are Becoming Irrelevant Award-Chasers’

Creative Leader Calls for Focus on the ‘Famousness’ of a Piece of Work

By Jeff Goodby
Published: June 23, 2009

(AdAge.com) — I call it the “cab test.”

When you get into a taxi and tell the driver that you’re in advertising, they often ask you whether you’ve done anything they might be familiar with.

Well, have you?

Ironically, the more awards you’ve been winning these days, the more likely the answer is “No.”

It’s fast becoming clear that the majority of things we’re rewarding, as an industry, are either small or marginal efforts for legitimate clients, things we made for real clients that the clients seem not to have ever heard of, or out-and-out fakes.

Some of these projects are well-intentioned since, at the very least, they are meant to “inspire” us when we work on bigger, better-paying accounts. But without getting into whether this kind of activity is immoral or just plain chickenshit, I’d like to point out a graver toll it’s taking on us all: It’s making our business less famous. Less fun. Less public. Less about any of the reasons you probably got into it in the first place.

We’ve created a system that rewards work that is increasingly unknown to anyone outside the business. We have become connoisseurs of esoterica. And in the process, we’re becoming more about us, and less about changing the world.

We are becoming irrelevant award-chasers.

Sure, some of the best things we make nowadays are internet experiences with necessarily specific, limited audiences — that cab driver might not be expected to see them. But for the ones I’m talking about, the only intended audience is, well, us.

Ghost ads are symptom of the malaise
There are big, obvious signs of this syndrome everywhere, of course. The controversy in Dubai this year led to the rescinding of a big bag of awards and an Agency of the Year accolade (it also queered Creativity’s Top Ten and no doubt a host of other such end of the year tallies). There was the apparently fake J.C. Penney commercial that won at Cannes last year. The list goes on.

But beyond the nakedly exposed fakes lies a gray area of questionable stuff that is perhaps even more dangerous. At the Andy Awards this year, we gave a gold to a lovely magazine spread campaign for an FM radio station — but you had to wonder how such a station had the money to produce and run over 14 versions of such lush creations. And I have heard three different people from New York City — parents who are in our business — say they never got even a whiff of that widely-awarded school cell phone campaign.

As I say, this is not yet another complaint about ghost ads. It’s a protest against the people who compliment things for being “well-entered.” It’s a warning that we are, in effect, making things that serve our own agency brands instead of serving our clients and making a difference in the minds of the world.

Making marketing famous again
I want us all to be famous again, outside the walls of our agencies. How can we accomplish this?

Well, I think we have to demand that awards judges take into account the sheer “famousness” of a piece of work when they make their determinations.

Not whether the stuff worked — we are all quite good at making entry videos that make that case. (Judges parody these now as they watch them.) Not whether the stuff is new or ingenious — yeah, we all want that. I’m talking about naked fame. Whether it’s something you’ve ever heard of.

I don’t think that it’s wrong to have international judges — people who are probably among the most media- and internet-savvy types on the planet — mark things down a bit if they’ve never heard of them. For the good of our business. For the good of us all.

Bob Garfield recently complained that Cannes had become irrelevant because advertising forms had descended into “chaos.” Giving free rein to the fame factor helps make such quibbling irrelevant. No one feels uncomfortable celebrating “Whopper Sacrifice” or “Mac vs. PC” or Coke’s “Happiness Factory.”

Think about it the next time you get in a cab. Think about it when you consider what will make you want to get up and go to work tomorrow.

Do it for the fun we’ll all have

Fred & Farid wins Grand Prix in Press for their Wrangler Campaign, “We are animals”.

http://www.dagensmedia.se/nyheter/byraer/article58897.ece

A PDF with all the winners:

http://www.dagensmedia.se/incoming/article58901.ece/BINARY/Press+Lions+Winners.pdf

See more executions on the Fred & Farid website.

Credits:

Advertising Agency: FFL Paris, France
Executive Creative Directors: Fred & Farid
Art Director / Copywriters: Julie Louison, Perinne Durand:
Agency Supervisors: Fred & Farid, Daniel Dormeyer, Brani Branitcheva, Vassilios Basos, Paola Bersi
Advertiser Supervisor: Giorgio Presca, Mark Cuthbert, Gary Burnand, Carmen Claes
Art Buyers: Camille Guerrier, Charlotte Delobelle
Media Strategy and Buying: FFL Media, Pascal Crifo

http://www.clioawards.com/shortlist/

“The definitive online tally of the best agencies, brands, creatives, production companies and directors, according to a weighted tabulation of the major advertising awards shows.”

“About The Creativity Awards Report
The Creativity staff compiled a Winners database from seven shows: ADC, AICP, ANDYS, Asia AdFest, Cannes, Clio, D&AD, and One Show.

The eight charts reflect “cooked” scores, where each award was weighted according to its level of preciousness. Different weights were assigned to Gold, Silver, Bronze and Best of Show/Grand Prix Awards. Cannes was assigned a slight premium…”

The best,

#1 Agency

BBDO, New York at 845 points

#1 Agency Network

BBDO at 2015 points

#1 Creative Director

David Lubars, BBDO at 720 points

#1 Art Director

David Carter, BBDO at 330 points

#1 Copywriter

Greg Hahn, BBDO at 305 points

#1 Production Company

MJZ at 890 points

#1 Director

Rupert Sanders, MJZ at 425 points

#1 Advertiser

Microsoft at 565 points

Source: http://creativity-online.com/?action=news:article&newsId=130537§ionName=awards_08

The largest advertising award in Sweden Guldägget has put their archives online. Thru Golden Search you can search on the last five years of awarded pieces. A great resource for people interested in creative advertising from Sweden.

http://sok.guldagget.se/

At the moment there is a print ad competition going on in Sweden. Reklamcupen, an initiative by Dagens Nyheter, a major news paper in Sweden. Reklamcupen is a summer competition where agencies compete about doing the best print ad. It’s set up as a soccer tournament. The ads are published two and two and are judged by a selected jury. In the end of the tournament the winner ad is selected by the news paper readers.

Client: Kikkoman Soy Sauce
Agency: Scholz & Friends Sweden

Copy: “Culinary art from Japan.” / “Matlagningskonst från Japan.”

Annonsen på Svenska.

http://citat.se/web/dn/reklamcupen/