Amy Ferguson on Cannes Lions’ Most Democratic Medium
Of all the categories at Cannes Lions, the Social & Influencers Lions are arguably the most democratic due to the low cost of entry the medium offers. It's also extremely prevalent - what campaign doesn't include a social element in 2024?
What's more, Cannes Lions this year announced the launch of LIONS Creators, a new dedicated forum that will take place during the festival that will "include a curated mix of exclusive learning and networking experiences for creators and those working in the wider creator economy". It follows Goldman Sachs analysis that estimated that the creator economy was a $250 billion industry and could reach $480 billion by 2027.
Jury president of this year's Cannes Lions Social & Influencer category is Amy Ferguson, who recently left her role as chief creative officer at TBWA\Chiat\Day New York to join Special Group as US partner and creative lead of its New York Office.
LBB's Addison Capper chatted with Amy ahead of the festival.
LBB> What is it about the Social & Influencer category that really excites or interests you?
Amy> There are very few campaigns that don’t have some form of social and influencer so it’s heavily entered and there’s a huge variety in the kind of work we’re seeing. Because the social and influencer space changes so regularly, I’m really interested in finding the work that’s pushing the boundaries and using social media and influencers in fresh, exciting ways.
LBB> What are the current big debates within Social & Influencer - or more generally across the industry - that you expect to see coming through in the judging?
Amy> I think we’ll need to decipher the difference between great ideas that just showed up on social media and great ideas with social media at the heart of them. Ideas that are truly social in nature. I also think measuring impact and making sure that the work we award really did something for the business or the brand will be a huge part of our discussion this year.
LBB> Social and influencer is one of the most prevalent mediums for advertising - it can be utilised by the smallest and largest brands on the planet. What are your thoughts on that? And what fun challenges and opportunities do you anticipate it might conjure up during judging?
Amy> It’s perhaps the most democratic medium because the cost of entry can be low. I think that makes our job a little bit more complex because it can’t just always be pay-to-play impact. We will need to find the ideas that really used unexpected creativity to get attention and eyeballs. The challenge will be making sure we have some of both.
LBB> Like PR, it’s probably fair to say that every campaign is social these days. How does great creativity ensure it flourishes on social?
Amy> I am definitely feeling the whole ‘every campaign is social these days’ thing as I wade through the hundreds of case studies! But I believe the ones that will rise to the top in our category will be the ones that understand the space and the community of social. They aren’t just good ideas that happened to end up on social but they are ideas that have social thinking baked right into them. Those are the ideas I want to celebrate.
LBB> Looking at last year’s Grand Prix winner, ‘Flipvertising’ from Samsung and CHEP, how has this affected and influenced the category and is there anything about this winner that you’ll be looking for in entries this year?
Amy> I loved this idea. It was basically an online scavenger hunt that asked consumers to try and trick the google search algorithm. It’s an idea that inherently understands the social space and how consumers interact on it but it totally flipped that on its head. Which is probably why they named it that? It’s also just really fun!
LBB> Comedy is the big new ‘culture and context’ sub category this year - how do you think comedy could be better leveraged, and specifically in the category you’re judging?
Amy> I’m thrilled to see the festival recognising comedy more and officially celebrating comedy. I think things got waaaaay too serious for a minute there and this return to comedy is very welcomed. Advertising is at its best when it doesn’t take itself too seriously in my opinion. And that’s never more true than it is on social. The medium is inherently funny and absurd. That’s what people come to social for so I’m excited to find the best in class work to help strengthen the case for using comedy in our work.
LBB> In recent years, the Influencer category was prone to being sneered at by the industry establishment to some degree. Do you feel that’s still the case? Why?
Amy> I think we’re still figuring out this influencer thing, myself included. There is no arguing that influencers have a powerful place in creating great work and helping to amplify campaigns. But I am most interested in ideas that utilise influencers in a surprising way. I think amplifying is one thing but to creatively change the way influencers interact with the work is more exciting to me.
LBB> Thinking broadly, is there one social or creator campaign - from any year - that you just love? Why?
Amy> I think the Wendy’s work where they emulated old people on social as their entire Facebook strategy perfectly understood the assignment. It makes fun of a social behaviour and is completely entertaining and shareable. Also it’s just fun and silly which is when social media is at it’s best.
