The Ultimate Benchmark of Creative Bravery. 

Every year, the Cannes Lions International Festival of Creativity celebrates the ideas pushing our industry forward. Among all the award categories, the Dan Wieden Titanium Lions remains one of the most prestigious, recognising work that breaks conventions, reshapes disciplines, and opens new creative directions.

Named in honour of Dan Wieden, Co-Founder of Wieden+Kennedy and one of advertising’s most influential creative leaders, the Titanium Lions reward ideas that go beyond brilliant execution to genuinely move the industry forward. For Cannes Lions 2026, the category once again brings together some of the boldest and most talked-about campaigns from around the world. From breakthrough brand platforms to inventive uses of storytelling, media and technology, these are the ideas setting the creative benchmark for the year ahead.

In this post, out of the 137 campaigns entered in the Dan Wieden Titanium Lions category this year, we’re exploring the 18 ones that made it to this prestigious shortlist, with their associated case studies. This article will be updated on Friday 26 June as the Grand Prix and winners are announced.

Cannes Lions 2026 Dan Wieden Titanium Lions Shortlist (18 Campaigns)

“The Dan Wieden Titanium Lions celebrate work that challenges conventions, shifts perspectives and points the industry toward what’s next.”

Often seen as Cannes Lions’ most future-facing award, Titanium honours ideas that don’t just stand out creatively, they change the conversation. These are the campaigns that push boundaries, inspire the industry, and become references for years to come.

Case Studies & Boards of the 18 Campaigns Shortlisted for the Dan Wieden Titanium Lions 2026

From purpose-driven ideas to brand-building innovation, here are ALL the case studies and printed boards of the 18 campaigns competing for one of the Festival’s highest honours.

• ASICS – “The Undropped Kit”, by GUT, Toronto, and Golin Ketchum, London.

• BCP – “SOS POS”, by Circus Grey, Lima.

• Caritas – “Vehicle of Hope”, by Differ, Stockholm / Colony, Stockholm.

• Columbia Sportswear – “Expedition Impossible”, by adam&eve\TBWA, London.

• Comando Con Venezuela – “600K Network”, by Rainbow Lobster, Mexico City / Comando Con Venezuela, Caracas.

• Heineken – “Tocayos”, by LePub, Milan.

• IKEA – “IKEA Preowned”, by McCann Spain, Madrid.

• OREO – “The OREO Cows”, by VML, New York / VML, Mexico City.

• PSP – “Birds Never Forget to Fly”, by Playmakers, Tbilisi.

• Sea Cleaners & JCDecaux – “Reverse Media Schedule”, by Dentsu Creative Aotearoa, Auckland.

• SKF – “The Faroe Islands Space Program”, by Nord DDB, Stockholm.

• Skoda – “Duobell”, by AMV BBDO, London.

• Suncorp Insurance – “Haven”, by LEO, Sydney.

• Tecate – “Welcome Back, Paisano”, by LePub, Mexico City.

• The Philipstown Wirecar Foundation – “The Philipstown Wirecar Grand Prix”, by Accenture Song SA, Cape Town.

• Vaseline – “Vaseline Originals”, by Ogilvy Singapore.

• Virginia Giuffre – “The Legacy of Virginia Giuffre”, by Dini von Mueffling Communications, New York.

• Xbox – “The Missing Managers”, by McCann, London.

The 2026 Dan Wieden Titanium Lions Jury 

• Jury President: Chaka Sobhani, Global Chief Creative Officer, TBWA\Worldwide, Global.
• Andrea Diquez, Global CEO, GUT, Global.
• Cindy Gallop, Founder and CEO, MakeLoveNotPorn, USA.
• Esi Bracey, Former Chief Growth and Marketing Officer, Unilever, Global.
• Gaëtan Du Peloux, Co-President and Chief Creative Officer, Marcel, France.
• Jimmy Smith, Chairman, CEO, Amusement Park Entertainment, USA.
• Naoki Tanaka, Chief Creative Officer, Dentsu Lab, Dentsu, Japan and Global.
• Nayla Tueni, CEO and Editor in Chief, Annahar Media Group, MENA.
• Pancho Cassis, Partner and Global Chief Creative Officer, DAVID, Global.
• Tseliso Rangaka, Chief Creative Officer, Accenture Song, South Africa.

The Cannes Lions’ ‘2026 Awards Map’

Here’s how Cannes Lions structures its awards to celebrate global creativity in this 73rd edition: 8 main tracks, and one flagship category, the Dan Wieden Titanium Lions.

BRAND. Celebrating the creative engine that makes breakthrough work inevitable, recognising the systems, culture, leadership and infrastructure that transform creative potential into sustained competitive advantage.

• Brand

CLASSIC. The big creative idea – where work is brought to life through the long-standing yet ever-evolving fundamentals of image, sound and storytelling.

• Audio & Radio
• Film
• Outdoor
• Print & Publishing

CRAFT. Focusing on the artistry, skill, talent and flair required to deliver beautifully executed ideas with the power to cut through and bring the creative idea to life.

• Design
• Digital Craft
• Film Craft
• Industry Craft

ENGAGEMENT. Celebrating insightful creativity that captivates at every touchpoint. Creating authentic interaction and immersive experiences that engage consumers and impact culture.

• Creative B2B
• Creative Data
• Direct
• Media
• PR
• Social & Creator

ENTERTAINMENT. Celebrating creativity that goes beyond branded communications to create authentic branded entertainment that engages consumers and impacts culture.

• Entertainment
• Entertainment Lions for Gaming
• Entertainment Lions for Music
• Entertainment Lions for Sport

EXPERIENCE. Focusing on the powerful brand currency of intelligent customers journeys and immersive experiences – captivating audiences at every touch point.

• Brand Experience & Activation
• Creative Business Transformation
• Creative Commerce
• Innovation
• Luxury (category introduced in 2024)

GOOD. Going beyond brand purpose to use creative communications to shift culture, create change and positively impact the world.

• Glass: The Lion for Change
• Sustainable Development Goals

HEALTH. Celebrating creativity in branded communications in this highly innovative but fiercely regulated sector with the unique power to truly change lives.

• Health & Wellness
• Pharma

STRATEGY. Celebrating commercial effectiveness, strategic planning and creative application of solutions to unlock growth and measure impact.

• Creative Effectiveness
• Creative Strategy

TITANIUM. Celebrating provocative, boundary-busting, envy-inspiring work that marks a new direction for the industry and moves it forward.

• Dan Wieden Titanium

Last year’s selection: Cannes Lions 2025: The 18 Campaigns Shortlisted for Titanium

Find more international advertising winners in our dedicated category: CREATIVE AWARD SHOWS 2025

Coming soon – Find more info about the 2025 Cannes Lions (including all the Grand Prix winners!) in our dedicated category: CANNES LIONS 2025

L’article Cannes Lions 2026: The 18 Campaigns Shortlisted for Titanium est apparu en premier sur LLLLITL.

Columbia Sportswear builds gear designed for extreme conditions—equipment tough enough to go to the edges of the Earth. But there’s an inherent marketing problem in that promise: how do you prove durability when “the edge of the Earth” doesn’t actually exist? Rather than defaulting to conventional outdoor testing narratives, the brand leaned into a more provocative truth: the people most committed to proving extreme ideas are often not traditional adventurers, but communities with fringe beliefs. Among them, flat earthers—individuals dedicated to finding literal “edges” of the world. So the opportunity wasn’t just to demonstrate product toughness. It was to create a scenario so extreme, so absurd, that it would stress-test both belief systems and gear.

If Columbia gear is built for the end of the Earth, then the ultimate test is to ask someone to actually go find it. The idea was deliberately tongue-in-cheek: challenge flat earthers to locate the edge of the planet—and if they could prove it exists, Columbia would give away everything the company owns. It reframed product proof into cultural provocation. Instead of showing gear surviving extreme environments, Columbia would invite people to attempt the impossible, turning brand durability into a global thought experiment. The campaign positioned the brand’s “Engineered for Whatever” platform not just as performance messaging, but as a dare.

Developed by adam&eve\TBWA, “Expedition Impossible” launched with an open letter from Columbia Sportswear CEO Tim Boyle, published across The New York Times and social channels. In the letter, he directly addressed the flat earth community, inviting them to “find the edge of the Earth” and promising that if they succeeded, they would receive ownership of the company—everything from equipment to office objects, framed with playful legal disclaimers and humor. The message was supported by a broader integrated rollout:

• A hero film featuring Tim Boyle announcing the challenge;
• Social and community engagement targeting conspiracy theory and outdoor adventure conversations;
• Active participation in online spaces, including Reddit and YouTube comment ecosystems;
• Cultural seeding designed to spark debate between believers, skeptics, and outdoor enthusiasts.

The tone stayed deliberately irreverent, blending corporate scale with internet-native humor while keeping the brand’s outdoor credibility intact.

“Expedition Impossible” became Columbia’s boldest brand provocation in years, generating widespread attention across advertising, outdoor culture, and internet communities. The campaign successfully turned a functional product claim—durability—into a cultural conversation about belief, exploration, and absurdity. By engaging a fringe audience in a playful but structured challenge, Columbia amplified its “Engineered for Whatever” positioning and reinforced its identity as a brand willing to push both physical and conceptual boundaries. The work stood out not for proving the Earth has an edge, but for proving that Columbia gear can survive any kind of mission—even the impossible ones people argue about online.

AWARDS

Clio Awards 2026

• Experience and Activation Grand Prix

One Show 2026

• Integrated, Omnichannel Grand Prix
• Social Media Grand Prix

CREDITS

Brand: Columbia Sportswear, Oregon. Executive Vice President, Columbia Brand President: Joe Boyle. Senior Vice President, Columbia Marketing: Matt Sutton. Senior Director, Columbia Creative: Chris Araujo. Principal Media Specialist: Jeramy Sewer. Social & Influencer Lead: Caroline Digilio. Social Media Manager: Vladimir Popov. Senior Manager, Brand Media: Taylor Doane. Director of Communications: Andy Nordhoff. Creative Agency Project Manager: Cerissa McFarlane.

Creative Agency: adam&eve\TBWA, London. Agency Network: Omnicom, New York City. Chief Creative Officers: Ant Nelson, Mike Sutherland. Creative Directors: William Cottam, James Crosby. Creatives: John Trainor Tobin, Jeppe Vidstrup. Chief Executive Officer: Miranda Hipwell. Managing Partner: Fraser Thomson. Account Directors: Freya Schofield, Sarah Hill. Account Manager: Amy Holden. Planning Director: Alex Scott Malden. Planner: Oscar Beach. Joint Head of Integrated Production / Producer: Sally Pritchett. Producers: Kurt Bailey, Yaz Al-Naama, Anna-Louise Vass. Project Director: Andrea Kenyon. Business Affairs Manager: Danni Rouse. General Legal Counsel: Candice Macleod. Senior Legal Counsel: Tom Campbell. Designer: Scott Silvey. Studio Manager: Rob Wallis. Senior Creative Artworker: Dave Callow.

Production Company: Smuggler, London. Director: Benji Weinstein. Head of Production: Daisy Mostyn. Producer: Manny Caston. DOP: Joe Meade. Post Production: Editing: Sean Stender, Ivy O’Mahony (Cut & Run USA). VFX: Weronika Holak, Oliver Banks Thompson, Molly Russell, Brooke Mowat (1920). Audio Post-Production: Andy Isaias, Olivia Endersby (Factory Studios). Music Supervisor: Sian Rogers (Siren).

L’article Columbia – Expedition Impossible: Challenging Flat Earthers to Find the Edge of the World est apparu en premier sur LLLLITL.

In 2025, more than 142,000 Mexicans were repatriated from the United States, returning home after leaving in search of better opportunities.

For many, the return meant facing unemployment, uncertainty, and the challenge of rebuilding their lives from scratch. Yet these individuals bring with them valuable experience, skills, and resilience, as Mexicans are widely recognized as one of the strongest workforces in the world.

Rather than treating repatriation as a social problem, Tecate chose to reframe it as an opportunity. Through “Welcome Back, Paisano”, the brand created an employability platform designed to help returning Mexicans restart their lives with dignity. By taking a clear stand on a pressing cultural issue, Tecate transformed its support from a symbolic welcome into tangible opportunities for employment, entrepreneurship, and economic inclusion.

Developed in partnership with LePub Mexico City and FUNDES, the initiative connects repatriated Mexicans with jobs and business opportunities across the Tiendas SIX ecosystem. The program supports the opening of new stores, generates employment throughout Tecate’s production and distribution network, and provides guidance for participants looking to build a new future. The campaign was amplified through digital and social media, content creators, OOH and DOOH placements in border cities, and a dedicated online platform where people could access information and apply for opportunities.

More than a communications campaign, “Welcome Back, Paisano” became a real business and social initiative. Tecate committed to employing 130 repatriated Mexicans over the next 24 months while creating a scalable model capable of generating additional jobs and entrepreneurial opportunities over time. By turning creativity into concrete action, the brand helped strengthen local communities, support economic growth, and redefine what it means to come home.

CREDITS

Brands: Tecate (Heineken) and SIX, Mexico.
CEO, Heineken Mexico: Oriol Bonaclocha.
Corporate Affairs Director: Claudia de la Vega.
Vice President of Marketing, Heineken Mexico: Marta García.
Brand Director, Tecate: Esteban Velasco.
IMC Manager, Tecate: Nicolás Álvarez.
Senior Brand Executive, Tecate: Abraham Zavala.
Consumer Connection Manager, Tecate: Alexandra Ahumada.
Vice President of Sales: Manuel Román.
Media Director, Heineken Mexico: Pablo Rada.
External Communication Manager, Heineken Mexico: Luis Herrerias.
External Communication Executive: Francisco de la Huerta.
Corporate Sustainability Director, Heineken Mexico: Inti Pérez.
Corporate Sustainability Leader, Heineken Mexico: Elena Montes de Oca.
Director of SIX, Heineken Mexico: Luis Aguilar.
Brand Manager, SIX: Maria Teresa Puente.
Senior Brand Executive, SIX: Maria Reene Benavides.
People Partner Manager, SIX: Lourdes Decanini.
Senior Labor Leader, SIX: Rene Gutierrez.
Regional Manager, SIX: Elizabeth Acevedo.
Regional People Partner, SIX: Flor Villegas.
Legal Manager: Luis Manuel Chao.
Executive Legal Counsel: Francisco Parra.
Lifestyle & Experience Manager, Heineken Mexico: Gaby Betancurt.
Senior Lifestyle & Experience Manager, Heineken Mexico: Mauricio Alvarado.

Creative Agency: LePub Mexico City.
CEO & CCO, LePub Worldwide: Bruno Bertelli.
Global CCOs, LePub: Cristiana Bocassini and Mihnea Gheorghiu.
Managing Director, LePub Mexico City: Paola Escalante.
CCOs, LePub Mexico City: Ricardo Avilés and Aldo Ramírez.
CSO, LePub Mexico City: Carlos Correa.
Creative Directors, LePub Mexico City: Marco García and Juan Pablo Balcázar.
Associate Creative Directors, LePub Mexico City: Ayax Mondragón and Elizabeth Cruz.
Planning Director, LePub Mexico City: Carlos León.
Account Director, LePub Mexico City: Daniela Perdigón.
Marketing & Communications Director, LePub Mexico City: Marielisa Esteves.
Producer: Ana Galván.

L’article Tecate – Welcome Back, Paisano: Creating Opportunities for Repatriated Mexicans est apparu en premier sur LLLLITL.

For many children, using the toilet at school can feel uncomfortable or embarrassing.

Andrex research revealed that 76% of UK schoolchildren hold in their poo while at school, highlighting a widespread but rarely discussed issue that can negatively impact both wellbeing and confidence. The brand identified an opportunity to help normalize conversations around toilet habits and reduce the stigma associated with them.

As part of its ongoing “Get Comfortable” platform, Andrex launched “Conquer The First School Poo” to help create a generation of children who feel less embarrassed about going to the toilet at school. By tackling the topic with humor, empathy, and positivity, the campaign encouraged children to overcome their inhibitions while giving parents the confidence to start the conversation at home.

Created by FCB London, the campaign centered on a playful film that reframed a child’s first school poo as a moment of triumph rather than embarrassment. Supported by the iconic Andrex puppy, the hero confidently makes his way to the school toilets while classmates cheer him on, turning a private moment into a celebration of courage. The campaign was supported by partnerships with Made for Mums, educational content featuring teachers, parents, and psychologists, and back-to-school resources designed to encourage open discussions about healthy toilet habits.

The campaign successfully brought a taboo subject into the mainstream conversation and empowered families to address it openly. After seeing the campaign, 96% of parents said they either had already spoken or planned to speak with their children about toilet habits. By combining humor with a meaningful behavioral objective, Andrex helped normalize an everyday experience and further strengthened its long-term mission of helping people feel more comfortable.

CREDITS

Brand: Andrex, UK.

Creative Agency: FCB London.
Chief Creative Officer: Owen Lee.
Executive Creative Director / Creative Partner: Kyle Harman-Turner.
Head of Art: Jack Walker.
Art Director: Rupert Thornborough.
Copywriter: Lou Bogue.
Head of Strategy: Laura Pirkis.
Planner: Adriana Ferran.
Business Director: Kirsten Barnes.
Account Management: Vicky Endicott.
Production Partner / Executive Producer: Nikki Chapman.
Head of Production: Emily Atterton.

Production Company: Biscuit Filmworks.
Director: Andreas Nilsson.
Executive Producer: Daisy Mellors.
Producer: Lucy Gossage.
Director of Photography: Lasse Frank.
Photographer: Tom Cockram.

Post Production Company: Selected Works.
Editorial: The Quarry.
Editor: Ben Campbell.
Sound Design: No8.
Music: Leland.

L’article Andrex – Conquer The First School Poo: Fighting a Stigma with Humor est apparu en premier sur LLLLITL.

Voice notes were designed to make communication easier, but they have increasingly become lengthy digital catch-ups that often replace real-life interactions.

Heineken’s global research revealed that people spend almost 150 hours a year sending and receiving voice notes, while more than half believe they are replacing face-to-face conversations. At a time when meaningful social connections are needed more than ever, digital convenience was getting in the way of real-world experiences.

As a long-time champion of socializing in real life, Heineken set out to turn one of today’s most common digital habits into a reason to meet up instead. “Could Have Been A Heineken” transformed long voice notes into an invitation to reconnect in person, rewarding people for stepping away from their screens and sharing a beer together.

Developed by LePub Milan and LePub São Paulo in partnership with WhatsApp, the campaign introduced a custom bot that rewarded users with free Heineken beers at nearby bars when they forwarded an overly long voice note. Launched first in Brazil, a market where voice notes are especially popular, the activation was supported by bold OOH placements, creator-led content, social activations, and cultural trend remixes that amplified the message. By using technology to encourage offline interaction, the campaign stayed true to Heineken’s mission of bringing people together in real life.

The campaign transformed a universal digital behavior into a playful social intervention, reminding people that the best conversations happen face-to-face. By leveraging a simple yet scalable technology, Heineken reinforced its position as a brand that actively champions real-world connection. Following its launch in Brazil, the platform demonstrated strong potential for expansion into additional markets, proving how technology can be used not to replace human interaction, but to inspire it.

CREDITS

Brand: Heineken.
Head of Global Heineken Brand: Nabil Nasser.
Global Communication: Dana Katz, Nalini Bhagwandin and Alessandra Cavarra.
Head of Brand & Consumer PR: Jonathan O’Lone.
Brand Global PR Lead: Joey Brophy.
VP Marketing, Heineken Brazil: Cecilia Bottai Mondino.
Senior Director, Heineken Business Unit: Eduardo Picarelli.
Brand: Igor de Castro, Williane Vieira, Giullia Gonçalves.
Consumer Connections: Fernanda Saboya, Luiza Agostini.
Media Specialist: Maria Rivaz.
Corporate Communications: Rafael Golfe, Karina Otsubo.
Senior Manager, Brand PR & Influencer: Adriana Teixeira.
Manager, Brand PR & Influencer: Camille Nunes.
Digital & Data: Eduardo Paiva and Stefanny Jeronimo.
Trade Marketing Manager: William Mazzucatto.

Creative Agency: LePub Milan.
Global CEO & CCO, LePub Worldwide: Bruno Bertelli.
Global CCOs: Cristiana Boccassini and Mihnea Gheorghiu.
Executive Creative Directors: Gaston Soto and Jack Smedley.
Creative Directors: Silvia Oton and Andrea Afeltra.
Associate Creative Director: Valentino Borghesi.
Head of Art: Andrea Ferlauto.
Copywriter: Alessandro Traverso.
Art Director: Vincenzo Russo.
Head of Strategy: James Moore.
Global Head of Creative Technology: Mauro Mazzei.
Head of Digital Production: Vittorio Cafiero.
Head of Content: Manuela Rossi.
Global Head of PR: Isabella Cecconi.
Senior PR Manager: Eleonora Botta.
Client Service Directors: Shirine Aoun and Ilaria Castiglioni.
Accounts: Gonzalo Gutierrez, Candida Franchi, Marta Sartorio.
Chief Production Officer: Francesca Zazzera.
Producer: Cinzia Morandi.
Motion Designers & Post Team: Dario Lipani, Andrea Besana, Roberto Bella and Claudio Beltrami.

Creative Agency: LePub São Paulo.
CSO & Partner: Aldo Pini.
COO: Aline Garcia.
CCO: Laura Esteves.
Executive Creative Directors: Greg Kickow and Rafael Alves.
Creative Directors: Yan Prado and Leandro Vilas.
Associate Creative Director: Caio Lima.
Copywriter: Victor Sotero.
Art Directors: Arthur Mourão and Samoel Junqueira.
Account Director: Juliana Dantas.
Creative Production Directors: Caio Rodrigues and Mariana Hermeto.
Content Director: Dayana Teixeira.
Strategy Director: Marília Duran.
Media Director: Priscilla Leite.
Executive Business Intelligence Director: Jessica Nahal.
Chief Communications Officer: Paula Ganem.

Music: Audio Network.
Music Consultant: Massimo Giordani.

PR Agency: The Romans.
Managing Director: Kate Brazier.
Executive Creative Director: Dan Roberts.
Creative Director: Jordan Kavanagh.
Associate Director: Liam O’Brien.
Account Director: Sarah Jones.

PR Agency: Lema+.
Co-Founders: Leandro Matulja and Leticia Zioni.
Partner & CCO: Gui Maia.
Account Manager: Maria Puebla.
Services & Project Manager: Felipe Klingelhoefer.
Creative Strategy Manager: Felipe Vaitsman.

Media Agency: Dentsu Creative.
Executive Business Director: Caroline Bassi.
Media Director: Raphael Cunha.
Media Manager: Marcelo Barbosa.

Media & CRM Agency: Circulo CRM.
Business Manager: Camila Moura.
Copywriter: Marina Costa.
Designer: Polyana Tarquinio.
Senior Strategist: Nathalia Farkas.

L’article Heineken – Could Have Been A Heineken: Turning Voice Notes Into Drinks est apparu en premier sur LLLLITL.

World Cup, World Stage.

Football’s biggest tournament has never looked bigger. The 2026 FIFA World Cup is set to be the largest in history: 48 national teams, 104 matches, 3 host countries, and most importantly for brands, an estimated global audience surpassing 6 billion viewers. A further 5 million will watch in person at stadiums, in major cities across North America, including New York, Mexico City, or Toronto.

The road to the 2026 FIFA World Cup has inspired some of the boldest, smartest, and most emotionally charged advertising the world has seen this year. Brands aren’t just sponsoring football games anymore, they’re building integrated universes around it. Blending sport, identity, music, fashion, technology and more into campaigns designed to win attention on a global scale.

“For brands, that’s not just a sporting event. It’s the ultimate creative battleground.”

As we yearly do for Christmas Ads and Super Bowl Ads, in this special selection below we spotlight THE standout ads that captured the spirit of the tournament before the first whistle even blew. The campaigns that made us laugh, think, feel, and/or hit replay. From legacy giants to disruptive newcomers, these are the creative plays redefining what World Cup marketing can be.

In our shortlist so far? Mostly beer, sportswear and soda giants: adidas (x3), Air Transat, AXE, Betano, Brahma, Buchanan’s, Budweiser, Burberry, Canada Soccer, Coca-Cola, Coors Light, Fox Sports, Heineken, IRN-BRU, Lay’s, LEGO, Michelob Ultra, Nike, Orange, Paddy Power, Pepsi, Powerade, Stella Artois, Tecate and Visa. You will find the full list of the 2026 FIFA World Cup official sponsors at the bottom of this post. Enjoy, and let us know your own favorites!

6 Key World Cup 2026 Marketing Trends So Far

Brands are moving from sponsorship visibility to cultural participation. 

01. The Hero Film Is Becoming A Short Film.

One of the clearest creative shifts this World Cup: brands are moving away from the classic 15 or 30-second TV commercial and embracing cinematic short films of 2 to 6 minutes long. Instead of producing one broadcast-first ad built for television, marketers are creating longer-form storytelling pieces designed to travel across YouTube, TikTok, Instagram, streaming, PR coverage and brand-owned channels. This way, the format feels less like advertising and more like entertainment.

02. Campaigns Are Becoming 360° Activation Ecosystems.

Another big evolution: fewer brands are betting everything on a few campaign assets. In previous tournaments, one global film plus a print campaign could carry the entire sponsorship strategy. This year, brands like Heineken, LEGO, Michelob Ultra, Nike or Visa are multiplying touchpoints everywhere: film, social media, live experiences, retail, merch, creator partnerships… World Cup marketing is no longer “one ad campaign”, it’s a brand universe fans can enter from multiple directions.

03. Messi and Beckham Are the Two Dominant Faces of the Tournament.

While, in classic American and Super Bowl fashion, brands are leaning heavily on celebrity endorsements, the Inter Miami duo are by far the two most-used football icons in 2026 World Cup marketing. Lionel Messi (e.g., Dick’s Sporting Goods, Hard Rock Café, LEGO, Michelob Ultra) and David Beckham (e.g., The Home Depot, Lenovo, McDonald’s, Pepsi, Stella Artois, Verizon) are seemingly everywhere, and sometimes even appear in the same campaigns (e.g., adidas and Lay’s).

04. The Definition of “Football Celebrity” Has Expanded Beyond Players.

For years, World Cup advertising relied mostly on active football players. In 2026, the cast list has expanded dramatically. Brands are now increasingly using coaches (eg, Carlo Ancelotti, José Mourinho…), commentators and presenters (eg, Andrés Cantor, Jorge Campos, Peter Drury…) or celebrities (eg, Kim Kardashian, Travis Scott, Steve Carell…) as recognizable ambassadors alongside players. These personalities bring something different than players: authority, nostalgia, voice recognition, strong social media potential…

05. Football Is Bigger Than Sport, It’s Now A Lifestyle Category.

More and more, brands are not just asking “How do we sponsor football?” but instead “How do we become part of football culture, beyond the match itself?” Many campaigns are moving beyond the pitch itself and several brands are increasingly using the World Cup to talk about fashion, music, travel, hospitality, nightlife, food, streetwear, fandom rituals… Football is no longer marketed as 90 minutes of sport but as a global cultural lifestyle moment.

06. Brands Are Marketing The Culture Clash Around Football.

Rather than focusing solely on the tournament itself, brands are tapping into the cultural exchange surrounding it, turning the World Cup into a moment where ‘football heritage’ meets ‘football discovery’. Marketing around the 2026 World Cup is indeed reflecting the contrast between football’s deep-rooted traditions in Europe and Mexico, and its growing mainstream adoption in the United States or Canada. European brands (Orange, Paddy Power, IRN-BRU…) are leaning into their authentic fandom credentials, using humour, national stereotypes and EU/US comparisons. Meanwhile, American brands (Chase, Coors Light, Fox Sports…) are taking on the role of ‘cultural translators’, helping newcomers navigate the sport and its rituals.

TOP 26 27 Best 2026 FIFA World Cup Campaigns

adidas – Eight Generations of World Cup Greatness

When adidas dropped this already-iconic teaser in October 2025, ahead of the official FIFA World Cup ball reveal, it instantly went viral among football fans worldwide. The image brilliantly unites eight generations of World Cup greatness: Lionel Messi (Argentina, 2022), Paul Pogba (France, 2018), Toni Kroos (Germany, 2014), Xavi (Spain, 2010), Alessandro Del Piero (Italy, 2006), Kaká (Brazil, 2002), Zinedine Zidane (France, 1998), and Cafu (Brazil, 1994). Each player represent adidas’ deep connection to football history through different eras, kits, and match balls. More than a simple promo, it was a masterclass in nostalgia marketing: a subtle, star-studded countdown that transformed a product launch into a global football moment. Creative Agency: Created In-House.

adidas – Worlds Cup Pet Jerseys 

In one of the most unexpectedly charming World Cup marketing plays of 2026, adidas proved that fan culture isn’t just for humans. By launching official FIFA World Cup pet jerseys modeled after official national team kits for countries like Mexico, Argentina, Colombia, and Japan, adidas cleverly expanded football identity into the lifestyle space, turning dogs into matchday participants. The collection taps into modern fandom, where personalization, social sharing, and emotional connection drive culture as much as the game itself. With this cute and smart move, adidas has created a playful, highly shareable campaign that blurs the line between sportswear and lifestyle branding. Creative Agency: Created In-House.

adidas – Backyard Legends

Timothée Chalamet, Lionel Messi, Bad Bunny, Zinedine Zidane, David Beckham, Ousmane Dembélé, Jude Bellingham, Lamine Yamal, Alessandro Del Piero, Trinity Rodman, Raphinha, Pedri, Florian Wirtz and Santiago Gimenez, this is the amazing cast reunited by adidas for its 2026 FIFA World Cup short movie. “They bring to life the greatest Football story ever told.” With adidas’ message of “You Got This” at its core, the epic commercial celebrates the joy of free play and reminds football fans around the world that every pitch, from backyards to the world’s biggest stage, can create a legend. Creative Agency: Lola, New York.

Air Transat – Watch / See 

With this clever campaign, Air Transat is turning World Cup frustration into world inspiration. The print campaign compares the cost of World Cup tickets with the price of flights to those same countries. The Canadian airline, one of the three host nations, may have created one of the smartest World Cup 2026 campaigns so far, without being an official sponsor. It starts with a consumer pain point, not a brand message, and taps into fandom culture without relying on FIFA branding or sponsorship assets. Instead, it turns frustration into an aspirational alternative while showcasing Air Transat’s destinations. Visually, it keeps things simple, which is why it lands so quickly. A strong reminder that the best campaigns don’t force their way into culture, they find the tension already there and make the brand useful inside it. Creative Agency: Courage, Montreal. 

AXE – Smell Your Best 

AXE taps into the chaos of soccer fandom by spotlighting the wildly questionable fashion decisions fans make during the World Cup, positioning fragrance as the one thing that can still keep them attractive. The humorous campaign features supporters whose devotion to their teams has completely overridden their sense of style, from an Argentina fan recreating Diego Maradona’s legendary “Hand of God” moment, to a Mexico supporter showing up to a date dressed like an actual soccer pitch, and a Germany fan awkwardly packed into a giant sausage suit. The ads cleverly parody Axe’s classic seduction formula with a more self-aware, tongue-in-cheek tone, suggesting that even when fandom makes you look ridiculous, smelling good can still rescue your chances. Creative Agency: Lola, Madrid. 

Six stories of football fans who look completely ridiculous for their countries, but somehow still make it work, all thanks to ‘The Power of a Fragrance’.

Betano – Believing Makes It Happen

Betano’s “Acreditar Faz Acontecer” (“Believing Makes It Happen”) campaign tells a simple, emotional story: a tiny digital character escapes from a football video game and journeys into the real world to experience football for real, ending up in a packed FIFA World Cup stadium, surrounded by fans and emotion. Built around the line “The World Cup begins when you believe,” the film celebrates the idea that belief is what turns anticipation into reality. What makes it especially smart and original is its tone: instead of using the usual high-energy World Cup advertising language (fast cuts, shouting commentators, big dramatic action…) Betano goes in the opposite direction with a gentle, almost poetic narrative and soft music. That contrast makes it instantly stand out. The crossover between the virtual stadium and the real one is also a clever metaphor for fandom today, moving from screens and imagination into shared, lived emotion. Creative Agency: Wieden+Kennedy São Paulo. 

Brahma – Tá Liberado Acreditar

Brahma’s latest ‘Tá Liberado Acreditar’ (Let Yourself Believe) campaign is clever because it turns Brazil’s current football pessimism into the creative engine of the ad itself. By leaning into the fact that only 28% of Brazilians believe the Seleção can win a sixth World Cup this year, the film reframes doubt as part of Brazil’s football mythology, reminding fans that the country’s greatest victories often came when expectations were lowest, recreating street-football versions of iconic World Cup moments. The cameos from Carlo Ancelotti and Ronaldo add credibility and emotional weight, while the campaign smartly positions Brahma not just as a sponsor, but as a cultural custodian of Brazilian football belief itself. Creative Agency: Africa Creative, São Paulo. 

Buchanan’s – Volvemos En Familia (We’re Back as a Family)

Buchanan’s whisky turned its FIFA sponsorship into a powerful act of national healing by reframing Colombia’s return to the World Cup in the United States as a collective “second chance.” The campaign invites Colombians to respond to Andrés Escobar’s 1994 letter of apology, written after his own goal against the United States contributed to Colombia’s World Cup elimination and became one of the most painful moments in the country’s football history. By turning those responses into a giant flag bearing his number #2, Buchanan’s transformed a story of blame and tragedy into one of forgiveness, unity, and second chances. What makes the idea original and smart is that it goes beyond football and brand visibility, using a painful chapter of Colombia’s history to create a participatory symbol of forgiveness, unity, and reconciliation. Creative Agency: Proximity BBDO Colombia, Bogotá. 

Budweiser – Let It Pour

With “Let It Pour,” Budweiser positions itself at the emotional epicenter of the 2026 FIFA World Cup, transforming football’s biggest tournament into a global release of passion, nostalgia, and celebration. Led by the charismatic presence of Erling Haaland and the unmistakable energy of Jürgen Klopp, the campaign celebrates the universal ritual of fans “letting it pour”, from tears and cheers, to beer and team pride. Through cinematic storytelling, limited-edition bottles inspired by past World Cups, and immersive fan merchandise, Budweiser taps directly into football’s once-every-four-years emotional intensity, reinforcing its long-standing role not just as a sponsor, but as a cultural companion to the memories fans create. Creative Agency: Grey, New York. 

Burberry – A Good Sport 

Burberry’s campaign is a bold strategic move ahead of the 2026 World Cup conversation. By blending football, fashion and film through the lens of the fans (rather than the players or the game itself), the brand taps into the emotion and rituals of match-day culture in a way that feels authentic, distinctly British and culturally relevant. It’s a smart example of Burberry using sport not to become a sports brand, but to reinforce its heritage while standing apart from traditional luxury competitors. Creative Agency: Created In-House. 

The campaign brings together a wide-ranging cast from film, sport and fashion. From film and TV, it features Jason Sudeikis (Ted Lasso), Jodie Turner-Smith, Stephen Graham, Lucy Punch and Bright Vachirawit. In sport, the lineup includes Declan Rice, Eberechi Eze, Leah Williamson, Son Heung-min and Naomi Girma. The fashion and modelling world is represented by Romeo Beckham, Rosie Huntington-Whiteley, Neelam Gill, He Cong, George Anderson, Bebe Parnell, Shivaruby and Mika Hashizume, creating a deliberately global mix of talent that reinforces the campaign’s cultural reach.

Canada Soccer – The Jersey Swap

Canada’s football federation launched a clever World Cup campaign by turning Italy’s failure to qualify into a cultural recruitment moment. In Toronto’s Little Italy, fans could trade in their Italy jerseys for free Canada national team shirts, symbolically inviting Italian-Canadians to support the host nation ahead of the 2026 World Cup. A smart, reactive move that taps into a real emotional moment and transforms disappointment into belonging. Instead of targeting generic football fans, Canada Soccer speaks directly to immigrant communities that historically supported other national teams, reframing Canadian soccer as part of their identity too. It’s playful, timely, culturally aware, and perfectly aligned with the federation’s “Our Game Now” positioning: “Soccer is no longer imported culture in Canada, it’s Canadian culture.” Creative Agency: Created In-House. 

Coca-Cola – Feel It All

Historical sponsor of the competition, this time Coca-Cola transforms the brand’s iconic can into a front-row witness to the emotional chaos created by such a World Cup. Narrated by legendary commentators Peter Drury and Luis Omar Tapia, and with the participation of José Mourinho and J Balvin the spots capture football’s universal highs and lows, from nail-biting tension to explosive celebration. The campaign positions Coke as a constant companion in every shared World Cup feeling, reinforcing its message that whether it’s joy, heartbreak, pride, or tears, “football’s biggest stage is best experienced with Coca-Cola in hand”. Creative Agency: WPP OpenX and Ogilvy, New York. 

Coors Light – The Coors Call 

With the “Cooooooooooors Call,” Coors Light brilliantly taps into one of football’s most recognizable emotional triggers by transforming legendary commentator Andrés Cantor’s iconic elongated goal scream into a brand asset. The campaign fuses soccer fandom with clever sonic branding, turning every “goooooooal” into “Coooors” across broadcast, social, merchandise, and live activations during the summer football season. The brand promises to dynamically stretch its logo with extra “oooo’s” in real time around major tournament moments. Through this clever hack, Coors Light’s activation feels less like advertising and more like part of the celebration itself. Creative Agency: Droga5, New York. 

Fox Sports – Do You Believe? 

Fox Sports’ “The Miracle” imagines a dramatic “what if” scenario where the U.S. wins the FIFA World Cup 2026, showing how one winning goal could spark nationwide celebrations and cultural impact. Featuring cameos from figures like Tom Brady and Zlatan Ibrahimović, the ad blends realism with exaggeration before snapping back to reality, reminding viewers it’s a long shot… but possible. It’s a smart move from Fox Sports as it taps into national pride and aspiration, builds excitement ahead of the tournament, and positions Fox as the home of a potentially historic moment. Creative Agency: Special US, New York. 

Heineken – Fan Volunteers 

Heineken’s “HR activation” reframes an underused workplace perk, Volunteer Time Off (VTO), into a socially rewarding way for soccer fans to legally skip work stress and watch daytime matches. Instead of simply sponsoring soccer content, Heineken solved a real fan tension: major matches happening during US work hours, when many fans secretly stream games or fake excuses to watch. By turning volunteering into a shared fan experience, the brand aligns itself with friendship, community impact, and soccer culture all at once, making the campaign feel useful rather than promotional. The idea also fits perfectly with Heineken’s “Fans Have More Friends” platform, generating organic participation, PR value, social content, and emotional goodwill. Creative Agency: LePub, New York. 

IRN-BRU – We’re Made in Scotland from Girders

Scottish beer IRN-BRU cleverly transforms its iconic “Made in Scotland from Girders” platform into a cultural rallying cry for Scottish football fans. Featuring an eclectic cast of Scottish celebrities and personalities including Susan Boyle, Aston Villa and Scotland captain John McGinn, Franz Ferdinand frontman Alex Kapranos, comedian Paul Black, viral singing sensation May Miller and dozens of real ‘Tartan Army’ fans, the campaign aims to create “a shared national moment”. What makes the idea stand out is its blend of nostalgia, humour and cultural relevance, turning a well-loved brand asset into a participatory movement that reflects the resilience, optimism and self-deprecating spirit of Scottish supporters. By extending the campaign across music releases, social activations, fan casting, OOH, influencer content and reactive storytelling, IRN-BRU has created a distinctive, fan-led platform that feels less like an ad and more like a piece of Scottish culture. Creative Agency: Lucky Generals, London. 

Lay’s – The Most Epic Watch Party

Lay’s brings together stars like David Beckham, Thierry Henry, Lionel Messi, Alexia Putellas and Steve Carell, who surprise real fans by joining them for an over-the-top World Cup watch party. The campaign taps into a huge global moment while reinforcing its message that football is better shared. The mix of humor, surprise, and fan inclusion strengthens brand relevance during a crowded sponsorship landscape. Creative Agency: Slap Global, New York. 

LEGO – Everyone Wants A Piece 

In the LEGO commercial, Cristiano Ronaldo, Lionel Messi, Kylian Mbappé and Vinícius Júnior are sitting around a table building a LEGO World Cup trophy, each trying to place their own piece on top. It’s smart marketing because it combines global football icons with a playful twist that reinforces LEGO’s core idea of creativity and inclusivity. The rare and unexpected collaboration of Messi and Ronaldo drives virality and PR coverage, amplified by the players’ own audiences. At the same time, the ending, where a kid wins, subtly re-centers LEGO’s message: no matter how big you are, play belongs to everyone. Creative Agency: Wieden+Kennedy, Amsterdam.

Michelob Ultra – The Superior Match

“One Lobby. Too Many Legends. Not Enough Superior Light Beer.” Michelob ULTRA’s FIFA World Cup 2026 campaign smartly transforms a simple beer run into an epic football showdown, using a cinematic hotel-lobby match to embody its “Superior is Worth Playing For” platform. The spot works because it mixes elite competition, humor, and pop culture energy, turning the product into the prize everyone fights over. The all-star cast includes Lionel Messi, Christian Pulisic, Sergiño Dest, Antonee Robinson, Lautaro Martínez, Nicolás Paz, Ronaldo, Guillermo Ochoa, Alex Morgan, and Billy Bob Thornton, giving the campaign massive global and cross-generational appeal. Beyond the film, Michelob ULTRA extends the experience through Pitchside Club fan hubs in Santa Monica and New York City, stadium Beer Gardens, nationwide ticket giveaways, bar-based soccer challenges, fan-voted “Superior Player of the Match” trophies, and limited-edition FIFA World Cup packaging, making the brand feel embedded in the tournament itself rather than just sponsoring it. Creative Agency: Created In-House.

Nike – Universe Of Football / RIP The Script

Nike is teasing a new “universe of football,” blends football stars, athletes, celebrities and artists with authentic ties to the sport. There will be a  The effort signals a broader shift in strategy, with Nike positioning football as something fans actively participate in across culture, community and creativity rather than simply watch. Previewed through Polaroid-style imagery, this Nike campaign is expected to be its biggest football expression yet. Creative Agency: Wieden+Kennedy, Portland. 

Nike’s 2026 World Cup commercial, “RIP The Script”, embraces chaos as its central theme. The six-minute short film features an extraordinary cast of football legends, current stars, musicians, designers, athletes, and cultural icons, all united by a simple creative premise: the greatest talents never follow the script. Throughout the film, a director struggles to keep a commercial shoot on track while global superstars do exactly the opposite of what is expected. The campaign celebrates individuality, creativity, and defiance of convention. Beyond the hero spot, Nike said the campaign will unfold “over 12 weeks” through a mix of collaborations and cultural activations across the globe.

“2026 is the Summer of dreams. But nobody ever dreams of doing what they’re told.”

The featured celebrities are: Alexia Putellas, Alphonso Davies, Bruno Fernandes, Central Cee, Clint 419, Cole Palmer, Cristiano Ronaldo, Didier Drogba, Edgar Davids x Patta, Eric Cantona, Erling Haaland, Estevão, Federico Valverde, Jacquemus, Jamal Musiala, Jorge Campos, Kerolin, Kim Kardashian, Kylian Mbappé, LeBron James, Lego, Lisa, Mateo, Mercurial Superfly, Mercurial Vapor, Nico Williams, Nocta, Pacemanissove, Raúl Jiménez, Ronaldinho, Scorpion, Serena Williams, Slawn, Toma Ballers, Travis Scott, Tyler Adams, Vinicius Jr., Virgil Abloh Archive, Virgil van Dijk, Wayne Rooney x Palace, Young Miko and Zlatan Ibrahimović.

Orange – The Blues In America 

French telco leader Orange built a World Cup campaign around a simple twist: the French national team are amazing footballers, but terrible Hollywood actors. Instead of the usual emotional, overproduced sports ad, the campaign parodies blockbuster movie trailers with players awkwardly overacting and failing on set. The idea is smart because it breaks every cliché of sports sponsorship advertising. Rather than glorifying the players as untouchable heroes, it makes them funny, relatable, and human, perfectly matching Orange’s “Human before Technology” positioning. Starring Kylian Mbappé, Ousmane Dembélé, Désiré Doué, Aurélien Tchouaméni and Theo Hernandez, and leaning into self-deprecating humor and the Hollywood setting of the 2026 World Cup, the campaign becomes more memorable, shareable, and emotionally warm than another generic “epic football” commercial. Creative Agency: Publicis Conseil, Paris. 

Paddy Power – Nobody Does Football Better Than Us 

Every tournament comes with its own football rituals, but when England meets America, it becomes a full-on cultural showdown. Pints flying vs. fireworks blazing. Terrace chants vs. kiss cams. Greasy matchday food vs. stadium snacks. “Bruva” vs. “Bro.” Danny Dyer vs. Rob Lowe… Paddy Power perfectly taps into that tension, turning the England–USA rivalry into a brilliantly exaggerated clash of football cultures. Loud, irreverent, and packed with sharp one-liners, the film feels unmistakably Paddy Power: bold, cheeky, and completely self-aware. It’s a smart reminder that football isn’t just a game, it’s identity, ritual, and endless debate. Creative Agency: BBH, London. 

Pepsi – Football Nation 

Instead of focusing only on football matches or product shots, Pepsi’s campaign taps into the everyday culture, rituals, arguments and humor that fans constantly share online and offline. The campaign turns fandom itself into the entertainment, from debates about “football vs soccer” to lucky jerseys and superstition rituals, making fans feel like they are shaping the sport together. By combining huge global football stars with internet culture, Reddit discussions and even a browser extension, Pepsi creates something designed to spread socially and stay relevant beyond tournaments. The ad features David Beckham, Mohamed Salah, Vinícius Júnior, Lauren James, Alexia Putellas, Florian Wirtz, plus a cameo from Gordon Ramsay. Creative Agency: BigTime Creative Shop.

Powerade – Power Your Fate 

Ahead of the 2026 FIFA World Cup, Powerade’s campaign positions preparation, not just performance, as the true foundation of greatness. Featuring rising global stars Lamine Yamal and Rodrygo, the film connects elite athletes with everyday players around the world, emphasizing that destiny is shaped long before kickoff through discipline, training, and hydration. Backed by a cinematic spoken-word narrative, the ad expands Powerade’s “Pause is Power” platform into a broader message of empowerment. “Don’t wait to be chosen, choose to be ready.” Creative Agency: WPP OpenX, New York. 

Stella Artois – Celebration (ft. David Beckham)

Stella Artois’ commercial shifts the focus from the pitch to the bar, positioning local pubs as the true stadiums of fan passion. Built around the brand’s “Taste Worth More” platform, the campaign celebrates the euphoric release of scoring a goal, with global ambassador David Beckham being the only one not throwing his beer to the roof. The campaign will be supported in the US through bar takeovers, curated viewing experiences, limited-edition packaging, branded merchandise, and the #AllRoundsOnBeckham sweepstakes. “When the beer hits the fan, hold onto your Stella.” Creative Agency: Gut, New York. 

Tecate – There’s Football Outside Football 

This new Tecate (Mexican beer brand from Heineken) campaign reimagines iconic football moments, like The Hand of God goal, controversial penalties, and dramatic defeats, by recreating them in everyday social settings such as bars, house parties, and backyards. Instead of showing actual matches or athletes, Tecate cleverly translates football culture into relatable fan behaviors, emphasizing that the passion and drama of the game live beyond the pitch. The three print ads tap into shared cultural memory while grounding it in real-life experiences. Shot by Photographer Ale Burset, the minimalist black-and-white aesthetic adds emotional weight and authenticity. Creative Agency: LePub, Mexico.

Visa – Tap In

Visa’s World Cup campaign takes a very simple football moment, the easy “tap in” goal, and turns it into a metaphor for frictionless payments, making the product benefit instantly understandable worldwide. Instead of explaining payment technology in a technical way, the campaign connects Visa’s tap-to-pay system to the emotion, spontaneity and rituals of World Cup fandom. Using humor and celebrity energy the film portrays Jason Sudeikis (Ted Lasso) travelling across the three host nations. It also stars Lamine Yamal, Erling Haaland, Christian Pulisic, Jorge Campos and commentator Andrés Cantor. The campaign will extend beyond advertising into promotions, fan activations and community funding, which will give supporters more ways to interact with Visa during the World Cup. Creative Agency: Anomaly, New York. 

Watch even more World Cup ads from around the world (American Airlines, Dove, Quaker, Verizon, Volkswagen…) in our comprehensive YouTube playlist: 

ALL the 2026 World Cup Commercials

Full List of 2026 FIFA World Cup Official Brand Sponsors 

FIFA World Cup 2026 Official Partners (Tier 1): These brands have rights across all FIFA competitions.

FIFA World Cup 2026 Official Regional Supporters (Tier 3): Rights are restricted to specific, local, or regional markets.

What is your favorite FIFA World Cup commercial or marketing activation?

Craving for more sport marketing? Watch: Super Bowl 2026: Watch the 15 Greatest Ads

L’article World Cup 2026: Watch the 26 Greatest Ads est apparu en premier sur LLLLITL.

The ad industry’s most coveted Pencils.

The 64th D&AD Awards Ceremony, held on May 20, 2026, in London, celebrated the year’s most powerful and purposeful creative work. With entries from a record-breaking 89 countries and over 50,000 pieces of work, this edition reinforced D&AD’s global relevance and influence. This year, only 2 White Pencils and 2 Future Impact Pencils were awarded, while the Black Pencils winners (the highest honor in the industry!) will be announced in September.

In total, 573 Pencils were awarded across 46 categories. This year’s winners reflected a growing appetite for bold, boundary-pushing creativity, with standout work spanning traditional craft, technology and cultural influence. As the industry evolves, the benchmark for excellence continues to rise: the work awarded in 2026 didn’t just demonstrate exceptional execution, it moved creative standards forward on a global scale.

Commenting on this year’s winners, Lisa Smith, D&AD President and Uncommon Creative Studio’s Global Chief Design Officer, said: “What stood out most was the sheer creative bravery and excellence on display. Across disciplines we saw teams pushing into genuinely new territory, from storytelling and traditional craft to emerging technologies and new forms of expression. Creativity is very much alive and the work that won did so because it moved the standard of creative excellence forward.”

The 573 Pencils awarded for the D&AD Awards 2026 by level:

• White (Grand Prix): 2 Pencils awarded.
• Future Impact: 2 Pencils awarded.
• Yellow (Gold): 52 Pencils awarded.
• Graphite (Silver): 149 Pencils awarded.
• Wood (Bronze): 368 Pencils awarded.
• Shortlisted: 557 pieces of work.

The 573 Pencils awarded for the D&AD Awards 2026 by main category track:

The Culture discipline saw the strongest entry growth of any discipline in 2026, with entries up 49% year on year. Three categories, Sport Entertainment (Culture), Cultural Influence (Culture) and Brand Transformation (Brand), made their D&AD Awards debut this year, awarding 10, 8 and 9 Pencils respectively.

• Advertising: 63 Pencil Winners.
• Brand: 32 Pencil Winners.
• Craft: 153 Pencil Winners.
• Culture: 55 Pencil Winners.
• Design: 129 Pencil Winners.
• Engagement & Experience: 102 Pencil Winners.
• Health: 25 Pencil Winners.
• Impact: 14 Pencil Winners.

The 2 White Pencils Winners of the D&AD 2026

• Sustained Impact White Pencil: AnNahar – “Active Journalism”, by Impact BBDO Beirut and Dubai.

The Sustained Impact White Pencil awarded to the AnNahar and Impact BBDO recognised a powerful body of “active journalism” that transformed the Lebanese newspaper into a platform for civic action, with campaigns such as The New President, Newspapers Inside the Newspaper, and the Elections Edition, all using creativity to drive political engagement and social accountability in Lebanon.

• Impact White Pencil: AXA – “Three Words”, by Publicis Conseil, Paris.

AXA and Publicis Conseil earned an Impact White Pencil for “Three Words”, a campaign that highlighted how a simple change in insurance wording could offer stronger protection and support for women facing domestic violence.

The 2 Future Impact Pencils Winners of the D&AD 2026

• Future Impact Pencil: Other Matter – “OM Signage Film”, by Other Matter, Melbourne.

Other Matter received a Future Impact Pencil for “OM Signage Film”, an innovative algae-based alternative to PVC vinyl that reimagines temporary signage through renewable, non-petrochemical materials designed to reduce environmental harm across retail, exhibitions, and events.

• Future Impact Pencil: Hyro – “Hyro”, by Duy Huynh, Will Harris, Zayna Ahmed, London.

Hyro was recognised with a Future Impact Pencil for its natural soil additive, designed to restore soil health, strengthen climate resilience in agriculture, and improve the nutritional quality of food by addressing the long-term environmental damage caused by conventional farming. More info here.

The 52 Yellow (Gold) Pencils Winners of the D&AD 2026

Here are the case studies for the only eight campaigns awarded multiple Yellow Pencils this year, followed by the full list of these highly coveted “Gold” awards. In total, out of 50,000 entries, only 38 campaigns and creatives received at least one of the 52 Yellow Pencils.

	BRAND	CREATIVE	CATEGORY	AGENCY
4x	Vaseline	Vaseline Verified	Commerce + Digital Marketing + Experiential + Media	Ogilvy Singapore
.	.	.	.	.
3x	Rosalía, Björk	Berghain	Music Videos (x3)	CANADA Barcelona
3x	Coinbase	Your Way Out	Art Direction + Production Design + Visual Effects	Isle of Any
3x	DECIEM	The Periodic Fable	Art Direction + Health & Wellbeing + Press & Outdoor	Uncommon C. S., London
.	.	.	.	.
2x	Anthropic	A Time and a Place	Film (x2)	Mother London
2x	AXA	Three Words	Health & Wellbeing + PR	Publicis Conseil Paris
2x	Caritas Sweden	Vehicle of Hope	PR (x2)	Differ
2x	L’Oréal	The Final Copy…	Entertainment + Film	McCann Paris
.	.	.	.	.
1x	Tiffany (LVMH)	1837 Blue Conservation	Luxury	L&C NYC
1x	Second Nurture	18 Months	Production Design	Klick Health Toronto
1x	Apple	A Critter Carol	Entertainment	TBWA\ MAL, LA
1x	New York Times	An Agoraphobe	Mag. & Newsp. Design	New York Times
1x	Uber	Build Your Own SB Commercial	Digital Marketing	Special US
1x	Buffalo Zine	Buffalo Zine No. 21	Mag. & Newsp. Design	Buffalo Zine
1x	Chi. Hearing Society	Caption with Intention	Entertainment	Omnicom
1x	Supercell	Die Ballons!	Animation	Uncommon C. S., Stockholm
1x	Electronic Arts	Drop In	Gaming & Virtual Worlds	Uncommon C. S., London
1x	Evil Ray	Evil Ray	New Brand Identity	Pembleton, Seachange
1x	Columbia	Expedition Impossible	Direct	adam&eve \ TBWA London
1x	adidas	Fowler’s Sports	Sports Entertainment	Homeground
1x	Tecate	Gulf of Mexico Bar	Press & Outdoor	LePub Mexico
1x	Life360	I Think Of You Dying	Film	Alto New York
1x	INQUE Publishing	INQUE	Mag. & Newsp. Design	Pentagram New York
1x	Apple	I’m Not Remarkable	Casting	Apple United States
1x	Mondelēz	Made to Be Enjoyed	Writing for Advertising	VCCP London
1x	Red Cross (ICRC)	Not A Target	Spatial Design	TBWA\ RAAD
1x	HORNBACH	No Project Without Drama	Editing	Heimat TBWA\ Berlin
1x	OpenAI	DevDay 2025	Brand Identity Refresh	Studio Dumbar, DEPT
1x	Penguin R. H.	Inclusive Sans	Type Design & Lettering	Olivia King, Penguin R. H.
1x	Popeyes	Pope Yes	Cultural Influence	GUT Miami
1x	Heineken	Pub Succession	Direct	LePub Milan
1x	Sigma	Sigma	Brand Identity Refresh	Stockholm Design Lab
1x	SickKids Foundation	The Count	Casting	FCB Canada
1x	VanMoof	Sound of VanMoof	Digital Experience Design	VanMoof
1x	New York Times	The NYT for Kids	Mag. & Newsp. Design	New York Times
1x	BBC	Trails Will Blaze	Animation	BBC Creative, NOMINT
1x	Google, Rimas Music, Spotify	Tracking Bad Bunny	Digital Marketing	DDB Latina Puerto Rico
1x	Jiangsu Phoenix	To See in White	Graphic Design	Ming He, Qing Zhao, Tao Zhu

David Patton, D&AD CEO, said: “64 years in and the D&AD Awards have never felt more global or more vital. The breadth of countries entering and the quality of work they’re producing tells you everything about where commercial creativity is headed. Entries were received from 89 countries this year, up from 86 in 2025 and the highest ever in D&AD Awards’ history. Significant growth in submissions from the UAE, India, Argentina, and Saudi Arabia signals that world-class creative ambition is no longer concentrated in a handful of markets, D&AD’s standard for excellence is being pursued and met across every continent. Singapore is perhaps the best example of that shift. Eleven Pencils, five of them Yellow, an achievement that signals where global creativity is heading.”

Check out more winning campaigns from the world’s most prestigious advertising festivals: CREATIVE AWARDS 2026

Check out the Black Pencils and White Pencils winners from previous years: D&AD AWARDS

L’article D&AD 2026: 2 White Pencils & 52 Yellow Pencils Winners est apparu en premier sur LLLLITL.

As one of gaming’s biggest franchises, Call of Duty has always relied on cinematic launches and blockbuster storytelling. But for Black Ops 7, Activision faced a different challenge: how do you launch a futuristic game about surveillance, robotics, and corporate power in a way that feels less like advertising — and more like reality itself? The opportunity wasn’t just to promote a game. It was to make people question whether its fictional world was already beginning to exist around them.

Set in 2035, Black Ops 7 explores a near future shaped by artificial intelligence, militarized technology, and powerful private corporations. At the center of the game’s universe is “The Guild,” a robotics company positioning itself as humanity’s protector against emerging threats. Rather than introducing the game through traditional trailers alone, Activision and 72andSunny decided to launch The Guild as if it were a real tech company entering the market. The idea was to blur the line between fiction and reality so convincingly that audiences would willingly step into the game’s narrative before release.

Developed by 72andSunny Los Angeles with digital partner Mutiny, “The Guild” unfolded as a fully integrated world-building stunt across media, technology, and culture. The campaign launched with a corporate-style film titled “Don’t Fear Tomorrow”, alongside a polished digital ecosystem and placements in publications such as Wired, Forbes, and Tech Brew, presenting The Guild as a legitimate Silicon Valley startup. Provocative out-of-home ads appeared across tech hubs with confrontational headlines like “You don’t need more friends, you need more security” and “The biggest lie tech ever told is that it’s on your side.” The fiction expanded further through influencer conversations, social media speculation, meme culture integrations, and even a staged IPO announcement featuring the company’s fictional CTO. Every touchpoint reinforced the illusion that The Guild was real, until audiences slowly discovered it was the central corporation inside Call of Duty: Black Ops 7.

“The Guild” transformed a video game launch into a large-scale cultural narrative experiment. By embedding the campaign inside real-world tech discourse, Activision turned the themes of Black Ops 7 — surveillance, AI anxiety, and corporate control — into conversations audiences experienced firsthand rather than simply watched in a trailer. The work stood out for refusing to separate marketing from storytelling, creating an immersive campaign that extended the game world into reality itself. Instead of advertising the future of Black Ops, the campaign made people feel like they were already living inside it.

AWARDS

ADC Awards 2026 (Art Directors Club)

• Gaming Grand Prix

CREDITS
Brand: Call of Duty, Activision.
Chief Marketing Officer: Tyler Bahl.

Creative Agency: 72andSunny Los Angeles.
Executive Creative Director: Zach Hilder.

Production: UnderWonder Content.
Director: Lado.
Music / Sound: Barking Owl.
Sound Designer & Sound Mix: Meg Ochs.
Executive Producer: Ashley Benton.
Associate Producer: Jenna Pangilinan.
Managing Director: Carol Dunn.

L’article Call of Duty – The Guild: The Game is Already Real est apparu en premier sur LLLLITL.

In nature, sexuality is not always binary—and neither is exclusion always visible. Around one in twelve rams is gay, yet in traditional farming systems, gay rams are often separated or slaughtered because they do not contribute to reproduction. Rainbow Wool, a sheep farm in Germany, exists to change that reality by rescuing gay rams and giving them a safe place to live freely. At a time when anti-LGBTQ+ narratives are resurging globally, Grindr saw an opportunity to move beyond digital connection and into cultural protection. As the “Global Gayborhood in Your Pocket,” Grindr is not only a platform for meeting—it is a cultural space where identity, visibility, and expression evolve. The question became: how can a dating app help turn invisible lives into visible culture?

If society erases queer visibility in certain spaces, then culture must rebuild it elsewhere. “I WOOL SURVIVE” was born from a simple but powerful idea: transform rescued gay sheep wool into a symbol of pride, survival, and creative expression. Grindr would connect unlikely worlds—a gay sheep farmer in rural Germany, a fashion designer in Los Angeles, and global queer culture—and turn that connection into a runway statement. The idea was to shift allyship from passive support into something tangible, wearable, and visible. The result: a fashion collection that turns survival into style, and biology into identity.

Grindr partnered with Rainbow Wool and designer Michael Schmidt to create the world’s first fashion show made entirely from wool sourced from rescued gay rams. The campaign brought together a gay sheep farm in rural Germany and a global creative network, culminating in a New York runway show featuring 36 bespoke looks. Each piece was crafted from wool of individual rescued rams, turning each garment into a story of survival. The designs referenced historic queer visual codes, symbols once used for safety and secrecy, now reinterpreted and worn openly on the runway. What was once hidden became proudly visible. Grindr acted as the connective layer: linking farmers, designers, creators, and queer communities across continents. The work extended beyond fashion into media, storytelling, and social amplification, ensuring the message travelled as both culture and conversation.

“I WOOL SURVIVE” transformed a niche agricultural reality into a global cultural statement. The campaign generated widespread earned media attention across fashion, LGBTQ+ advocacy, and creative industries, while reinforcing Grindr’s role as a cultural platform—not just a dating app. It positioned queer visibility in an unexpected space—agriculture and fashion—and turned it into a metaphor for resilience and survival. Most importantly, it reframed allyship as something material, creative, and publicly wearable, proving that identity can be both protected and celebrated through culture.

AWARDS

Clio Awards 2026

• Culture & Influence Grand Prix

One Show 2026

• Experiential & Immersive Grand Prix

CREDITS

Brand: Grindr, Los Angeles. Chief Marketing Officer: Tristan Pineiro. Head of Creative Brand Initiatives: SJ Jenkins. Director of Consumer Content: Benjamin Cooper. Associate Creative Director: Alex Stergious. Senior Social Media Manager: Peyton Miller. Consumer Communications Manager: Alex Sacripante. Social Community Manager: Joey Morales. Creative Agency: Serviceplan Germany, Munich. Global Chief Creative Officer: Alex Schill. Chief Creative Officer: Till Diestel. Managing Director: Andy Wyeth. Senior Copy & Concept: Schakir Islamow. Strategy Director / Project Lead Account Management: Nadia Leytes. Creative Directors: Dennis Fritz, Sebastian Simon. Copy & Concept: Louisa Heuter, Ann-Kathrin Schirpke. Art Direction: Marius Merkel. Senior Motion Designer: Klas Batschkus. Managing Director Account: Liselotte Schwenkert. Managing Partner: Alexander Nagel. Managing Director: Jens Krahe. Creative Operations Manager: Susan Horn. Junior Creative Operations Manager: Alexandra Grimm. Global Head of Creative Operations: Sabine Gwinner. Digital Agency: PLAN.NET Germany, Munich. Managing Director: Jens Krahe. Media Agency: Mediaplus Germany, Munich. Global Chief Creative Officer: Maximilian Florian Schöngen. Social Agency: TACSY by Serviceplan, Cologne. Performance Strategy (Rainbow Wool Social Media): Daniel Hoffmann. Public Relations Agency: People’s Revolution, Los Angeles. Founder & CEO: Kelly Cutrone. PR Manager: Quinn Halmann. Music / Sound Company: Supreme Music, Hamburg. Content Production: JD Content Company, New York. Designer: Michael Schmidt Studios. Designer: Michael Schmidt. Sheep Farm Owner: Michael Stücke. Photography: Steve Marais, Oliver Halfin, Kyla Elaine.

L’article Grindr – I Wool Survive: From Hidden Wool to Global Pride est apparu en premier sur LLLLITL.

Tecate, a proudly Mexican beer brand, has always positioned itself as a companion to national pride, character, and everyday resilience. But in early 2026, a political and digital controversy struck a nerve: following a proposal from the U.S. President to rename the “Gulf of Mexico” to the “Gulf of America,” Google Maps briefly reflected the change—triggering widespread outrage in Mexico. For many Mexicans, this wasn’t a symbolic update. It felt like a cultural erasure. A simple label change on a map suddenly questioned history, identity, and ownership of a shared national landmark. While institutions hesitated to respond, Tecate saw a moment where silence would feel like absence.

If a map could change reality with a single line of code, then Tecate would respond by changing reality back—publicly, proudly, and irreverently. The idea was simple but bold: reclaim the Gulf of Mexico in the most Tecate way possible—not through argument, but through culture. The brand would transform a highly visible digital symbol into a physical, unmistakable statement of ownership and pride. Instead of reacting defensively, Tecate would turn controversy into celebration—reframing the “name change” as something you can see, visit, and experience.

Tecate and LePub Mexico City created “Gulf of Mexico (Bar)”—a physical and digital activation that reclaims the contested name in real life. A beachfront bar installation was built overlooking the Gulf, officially branded as “Gulf of Mexico (Bar)”, turning geography into a cultural statement. The space functioned as both a social gathering point and a symbolic correction of the narrative. The idea extended into digital culture, where Tecate amplified the message across social platforms, reclaiming visibility in the same ecosystem where the controversy started. The bar became a rallying point for national pride, inviting people to “check in” not just physically, but emotionally. Rather than debating the map, Tecate simply replaced perception with experience.

The campaign quickly became a cultural flashpoint in Mexico, resonating far beyond beer advertising. It generated massive organic conversation, strong national media coverage, and widespread social engagement, positioning Tecate as a brand willing to intervene in moments of cultural sensitivity. More importantly, it reinforced Tecate’s long-standing brand territory: bold, witty defense of Mexican identity. The work earned multiple Grand Prix recognitions at the Clio Awards 2026, including Branded Entertainment & Content, Creative Disruption, Out of Home, and Social Media—cementing it as one of the most awarded campaigns of the year.

AWARDS

Clio Awards 2026

• Branded Entertainment & Content Grand Prix
• Creative Disruption Grand Prix
• Out Of Home Grand Prix
• Social Media Grand Prix

One Show 2026

• Cultural Driver Grand Prix

CREDITS

Brand: Tecate, Heineken México. CMO: Marta García. Tecate Brand Director: Esteban Velasco. Tecate Brand Manager: Nicolás Alvarez. Managing Director: Abraham Zavala. Creative Agency: LePub Mexico City. Agency Network: Publicis Worldwide (Global). Global Chief Creative Officers: Bruno Bertelli, Cristiana Boccassini, Mihnea Gheorghiu. Chief Creative Officers: Aldo Ramírez, Ricardo Avilés. CEO: Juan Carlos Tapia. Managing Director: Paola Escalante. Creative Directors: Juan Pablo Balcazar, Marco Garcia. Associate Creative Directors: Pedro Bergelund, Nestor Franco. Art Director: Elizabeth Cruz. Copywriter: Ayax Mondragón. Account Executives: Brenda Rivas, Abigail Cienega. Producer: Lizeth Torres. Editor: Juan Carbajal. Production Company: LANDIA (Mexico City). Director: Robert Llauró. Digital Agency: Monks Mexico (Mexico City).

L’article Tecate – Gulf of Mexico Bar: Protecting a Landmark from Donald Trump est apparu en premier sur LLLLITL.