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    Full-metal hardcore
     
    By Roger Pe
    Contributor
     

    The year 1997 was the worst of times, but one of the best of times for Philippine creative advertising.

    Many people still remember 1997 as the year when the Philippines climbed and inched nearer the world’s advertising apex: “The Hardwares.”

    For ad-industry insiders, that year ushered a new era of “statues” and provided closure to several chapters devoted to lofty finalist-certificate achievements.

    Ogilvy Manila brought us to the metal age for the first time with two bronze statues each from the Clio and New York Festivals, all mined from its Anvil and Pepsi campaigns. Mind-blowing. Awesome. Headline-making. Those were the feelings we experienced back then. Even if they came years later than Singapore, Thailand and Japan did, the effect was sensational.

    The Philippines’ truly hardcore-metal era has begun, warming our hearts from severe trophy winter drought. More statues in varying shapes came after that bonanza, and BBDO—the reinvented agency with David Guerrero, the man responsible for all those 1997 Ogilvy ores—delivered soon after with two gold statues from the London International Advertising Awards—also another first for the Philippines—for its agency self-promotion ad (a bald man pointing a hairdryer to his head) and Bayfresh (a flower Photoshopped to look like spokes of an electric fan).

    By 2002 the Philippines continued to dazzle the world, this time with yet another silver and three bronze Clios. They came from Ogilvy (“Door Key,” The Economist) and BBDO (“Dining Out,” Visa).

    We got our first Asia Adfest Lotus gold on the same year courtesy of Leo Burnett’s “Lolo” TV commercial for McDonald’s, where previously the same agency had won a couple of bronzes from its Bengay TV spots.

    McCann-Erickson also figured in the New York Festivals with a gold and silver. Jimenez-Basic, Lowe and Campaigns and Grey also metalled within that period. DDB Philippines, during the time of this author, struck world silver and bronze statues to gain entry to this august company of Philippine international winners.

    One of four most coveted awards in the world, the One Show, has been netted by two Manila agencies—JWT Manila (“Trees,” Greenpeace) and TBWA-Santiago, Mangada and Puno (a public-service radio spot for Philippine General Hospital). JWT’s “Trees” is perhaps the most statue-awarded Filipino piece of advertising to this day, also tucking a Clio and Cannes Bronze Lion under its belt.

    No agency has come close to TBWA SMP’s total gold, silver and bronze total haul in the New York Festivals. The agency that has won the Philippine 4A’s Agency of the Year plum three times in a row, a Creative Guild Ad of the Year behemoth year in and year out is also a major force in the Philippines Asia Adfest and Cannes rankings.

    BBDO’s Silver Lion win for a heart-rending TV ad edited from an award-winning documentary to separate minors from adult jails was the highlight of the Philippine campaign in Cannes in 2005. Another London International Advertising Awards gold by Young and Rubicam in 2006 for photography excellence upped the country’s total tally to three. And a landmark gold and silver win by JWT (“Trees”) in Asia Adfest in 2006 was a dizzying year for the Philippines.

    Ten years after 1997 the Philippines has finally arrived and tamed an animal ferociously hunted by everyone—the Gold Lion in Cannes last year, won by JWT Manila for a Lotus Spa radio campaign. It was also a year of gold avalanche at the Clio and the Neil French-organized World Press Awards, won by a Philippine-Malaysia Young & Rubicam agency tandem for Soroptomist of Malaysia.

    D&AD, the world’s toughest awards competition, is the last remaining major advertising award the Filipino has not yet conquered.

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