The Truth About Ad Awards

Hey!

We work in an ego-driven industry. Awards are our currency. They make agencies look good, attract talent, and reassure clients that they’re working with “the best.” But do they really matter beyond the vanity?

I’ve been thinking about this while waiting for the (painfully late) SABRE Awards shortlists to drop. It’s a weird feeling—caring about something that may not actually matter in the long run.

David Ogilvy once pointed out that of 81 TV ads selected as "classics" by the Clio Awards, 36 agencies lost the account or went out of business. That was in the 60s. It still happens today. Creativity wins trophies, but it doesn’t guarantee survival.

Why We Chase Awards

Let’s be real—awards are branding.

Agencies allocate budgets for award entries the same way brands invest in marketing. They don’t just chase trophies for the sake of creativity; they do it because awards attract clients who want to work with “award-winning” agencies.

They lure top talent, as young professionals prefer companies with a strong trophy case to boost their own careers. And, of course, they fuel internal pride—because who doesn’t like winning?

Winning a Cannes Lion is the advertising world’s Ballon d'Or/Oscars - the ultimate flex. It’s a way to signal to the industry (and yourself) that you’re playing at the highest level. And yes, I want one too.

The Rise of Ad Festivals

Advertising festivals have always been a mix of celebration, competition, and commercial strategy. The most famous, Cannes Lions, started in 1954, inspired by the Cannes Film Festival, with the idea that advertising deserved its own global stage.

The first event took place in Venice before moving permanently to Cannes in 1984. Other major festivals followed—Clio Awards (1959), D&AD (1962), The One Show (1973), and Effie Awards (1968)—each catering to different aspects of the industry: creativity, craft, and effectiveness.

Initially, these awards were meant to elevate the industry’s creative standards—a place where agencies could showcase groundbreaking work and inspire innovation.

But Do Award-Winning Ads Actually Work?

There’s data to back it up. WARC’s latest study found that 42% of highly creative campaigns (WARC Creative 100) were later awarded for effectiveness, compared to only 20% of all awarded campaigns. That’s a double chance of effectiveness for truly standout creative.

So while not every award-winning ad drives business results, the best ones often do. But let’s be honest—the number of award shows keeps multiplying every year.

Winning is no longer just about Cannes or Effies; there’s an entire ecosystem of festivals, each promising to define “the best” in different ways.

In PR, you’ve got ICCO and SABRE, but there are also niche awards like the PRWeek Awards and Global Communications Awards that agencies chase for credibility.

In creative, the list is endless—Cannes Lions, D&AD, Art Directors Club, Clio, Golden Drum, Eurobest, IAB Mixx, The One Show, and LIA (London International Awards). Each festival claims to be the ultimate benchmark of creativity.

Then there’s effectiveness, where Effie and WARC reign, but let’s not forget IPA Effectiveness Awards, which demand real proof that creative work drives business impact.

The Challenge?

Balancing creative risk with business impact. And this is where it gets messy.

Every agency team goes into a pitch or a brief with the thought: We need to make something unthinkable to win an award. But is that really in the client’s best interest? Maybe. But it’s an award-winning project, so the business results often become secondary. And this honestly drives me crazy.

Creativity should be about solving business problems, not just chasing metal statues. Yet, in an industry where ego fuels momentum, the temptation to prioritize awards over effectiveness is real.

Do They Matter?

Yes, but not for the reasons we pretend. Awards won’t save an agency. They won’t guarantee long-term client success. But they do signal quality, attract talent, and build reputations. And in an ego-driven industry, that’s enough to keep the machine running.

What do you think—are advertising festivals worth it, or just a giant pat on the back?

Best,
Marti