The Roses Advertising Awards 2002

By The Drum, Administrator

May 14, 2002 | 5 min read

McCann-Erickson Manchester’s poster for Durex, just part of the integrated campaign which dominated on the night.

At your first glance of the Roses Advertising Awards league table it may appear that Scotland lost the War of the Roses. However, closer inspection will bear out that while the top awards of the night went to English advertising agencies Scottish agencies did bring a significant haul of awards back up the M6 to adorn their boardrooms – 15, to be exact.

The Roses Advertising Awards, now in its second year since the design and advertising aspects were split, aims to identify only the very best in creative advertising work produced by agencies based outside London. Therefore, in order to set an exacting standard, Gold Awards were only given out sparingly. This year’s judging panel felt it fully justified that a Gold Award should only be given to work that truly excelled and stood head and shoulders above the crowd. Likewise, a Silver Award was deemed to be the industry standard.

The judging took place in Liverpool’s Tate Modern over a chilly two-day judging session in mid-March.

The panel was chaired by Malcolm Moore Deakin’s creative partner, Guy Moore, and Peter Gausis of Abbot Mead Vickers, Lee Hanson of Mustoe Merriman Levy, Mark Cooper of Ogilvy and Mather, Ray Barratt of Barratt Cernis, Simon and Matthew Welch of Duckworth Finn Grubb Waters, Mike Redpath of interactive firm AKQA and Richard Draycott, editor of The Drum were all present – whether they were correct is for you to decide.

Before heaping praise, it may be pertinent to highlight the few categories which the judges felt were not well represented. Surprisingly, these included the Regional Press categories, the Recruitment category and the Charity category, traditionally strong areas for advertising agencies in Scotland and the North of England.

Moore said: “Thanks to a great, friendly, open-minded jury, the first couple of hours’ judging were not as painful as they could have been. Maybe it was just plain bad luck, but we struggled to find anything good to say about the first couple of categories of work. Maybe we were just being too harsh at the start of a marathon task trying to look for those elusive Golds.

“No award was given until the end of the final day when, with everything spread out before us, we could take an overview of what really jumped out as a Gold and therefore the rest seemed straightforward. I can say on behalf of all the judges that we felt that the craft of writing has somehow been put to one side to make way for visually led messages. To keep the standards high, five Golds were awarded, and well deserved they were too.”

The top Scottish winner on the night was The Union, which crammed a total of six awards into its suitcase for the journey back to Edinburgh.

Press work for clients such as Baxters and S1Homes caught the judges’ attention, a radio campaign for Fife Council certainly raised a few belly laughs on its way to picking up a Bronze Award and a B2B direct mailer for Stortext also scooped a Bronze Award. The agency also secured three nominations, again for Fife Council, Baxters and Analogue Books.

Faulds scooped four awards in total, a Silver Award in the Best Outdoor Poster category for its Scottish National Blood Service ad, which was heavily praised by the judges, and a Bronze for its Strong Man execution for Truck Trader. It also collected a second Silver for its ‘Need More’ radio ad, created by Tom Richards and Pete Armstrong, for the SNBS, and a Bronze for its ambient media ‘Pint’, again for SNBS.

Next up was The Leith Agency, which picked up two Silver Awards for its Carling ‘Crab Friday’ TV ad in both the Best Television Commercial Category and the Best Cinema Commercial or Campaign category.

Following The Leith Agency was Yellow M Edinburgh. The agency’s recruitment viral e-mail ad, which aimed to find a new creative team for the agency, not only tugged at the heartstrings of the judges, but also received praise for its simplicity and the innovative use of the viral e-mail medium to target the people they wanted to reach.

Tied on one Bronze Award were The Bridge and 1576. The Bridge picked up its Bronze Award for its TV ad for Scottish Rugby Union in the Best TV Commercial produced for less than £20,000. The agency also picked up nominations for its Bulleit Bourbon magazine ads and the SRU in the Best TV Commercial category. The agency also scored a nomination in that category for its HEBS ‘Reminder’ ad but, surprisingly, no award was given.

1576 picked up a Bronze Award for its ‘Stress Bin’ poster for VisitScotland, along with two nominations for its posters for ID Recruitment.

Last, but not least, The Big Issue in Scotland received a nomination for its Cinema ad ‘Stop the Homeless’, which was praised for its production and use of music.


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