2015 versus 2024 – it’s hard to imagine two more different worlds. 10-years ago we’d never heard of COVID, WFH, MAGA or Brexit. Our media buyers would look blankly if you asked for rates on Netflix, Snapchat or TikTok. (Note: So far, I’ve avoided mentioning A.I.) But, what exactly has the last decade meant for Cannes? And if the past is a preview of the future, what might that mean for Adland? And all of us crafty creatives?
Here are ten personal observations from my 10-year Cannes hiatus.
#1 It’s now more Corporates than Creatives
Honestly, I was stunned at the changes on La Croisette. What was once a few company cabanas with a meeting room or two is now a mile of exclusive branded beach venues. Take your pick – Microsoft, Amazon, Meta, Reddit, Google, Spotify, TikTok, even FIFA. You can almost smell the money from the deals being done. But if you’re not invited, you’re not invited. And that’s us.
#2 The Palais is now optional
A quick glance at the “Who’s attending” list shows 140-ish names of Australia’s brightest. An even quicker glance at the notorious “Aussies only” party invite list shows nearly 260 attendees. So, almost half the Australians in town won’t set foot in the Palais. They’re schmoozing and boozing separately. Note: I suspect forking over $6,500 for a delegate pass may be partly to blame.
#3 Money is no longer dirty
Last time I was here, purpose-driven advertising was enjoying a healthy spring. I remember one jury president described our job as “To do good in the world”. No, really. It felt an exaggeration then and even more misguided now. Today, there was far more talk about selling. Making money. Turning a profit. It’s the “commercial” in “commercial creativity”.
#4 Diversity is obvious and overt
Almost by accident, Cannes got the jump on diverse juries – something which alluded Australian award shows for far too long. It helps when you start with “one judge per country”. You create your own United Nations on every panel. Cultural diversity is a welcome by-product. And, while gender equality is now a pillar of selection, Cannes has never really been a boys’ club. Case in point, last time I judged our president was an Asian-Canadian woman, and the jurors were close to 50/50 male/female.
#5 B2B looks on the UP-n-UP
For a long time, B2B marketers and creatives suffered from ugly duckling syndrome. But just like they did with healthcare, Cannes is lighting a fire under B2B. Aiming to lift standards globally. And it’s working. Humour is now bubbling to the surface. As is media innovation. The briefs are more insight-driven and clients are getting braver.
#6 Metal is found in new nations
Cannes has always celebrated discovering gold in unexplored corners of the globe. Witness winners proudly roll out their national flag on the Lumière Theatre stage. After 68 years, you’d think there weren’t many nations left unawarded. Well, strike off another. Kazakhstan won gold this year for the first time ever.
#7 Large scale is an understatement
It’s been described as “the ugliest building on the Cote d’Azur”. Truth is, when you’re in it you can’t see it – which is clearly a good thing. But, in the last 10-years there’ve been more stages, more meeting spaces, more screens and more everything. To the point that some of what was inside has now relocated outside the Palais. Even for a veteran, the scale is overwhelming.
#8 Education is now serious business
How brilliant are Cannes Case Study films for educating hungry young minds? In two minutes they show what really big thinking, really looks like. I built an entire advertising school curriculum mainly out of case study films. Well, it seems the Festival has caught on. They’re finally taking education seriously – beyond the Young Lions Competition. The Academy is an entire venue in the Palais with a lower costing pass.
#9 A.I. lip service is obvious
When it’s incorporated into a campaign, Artificial Intelligence is being used badly. Several juries have taken the red pen to tick-a-box entries. Simply saying “Oh yeah, and we used A.I.” hurts rather than helps. That’s not to say we should ignore A.I. Not at all. It’s just that few have discovered the secret to properly incorporating it.
#10 Simplicity is the ultimate sophistication
The single biggest takeaway is nothing new. It’s a reinforcement of what we, as creatives, already believe. For all the changes one fact remains rock solid. We’re all human beings. We’re hard-wired to reject messages that are too complicated. Or in the wrong tone. Or cliched. Wonderfully, that’s still the same.
So, in short, will Cannes still be relevant in 2034? If the past is anything to go by, I have no doubt. It just might look a little bigger and talk a little louder.
Rob Morrison is a rarity in advertising – a grey-haired creative. Rob’s experience includes time as a Creative Director at Ogilvy, BWM (now Dentsu Creative), George Patts (now VML), Campaign Palace and Wunderman. He now runs his own consultancy – morrison.collective.
Here are two more opinion pieces from Rob Morrison:
