How Agencies Bring Order to Awards Decisions
Order and Chaos Art Print by Veata | Society6
For all the buzz about “killer case studies” and polished entry videos, the best awards entries are decided long before the entry form is filled out.
They’re decided by whether someone recognizes an idea’s potential and champions it or lets it disappear under day‑to‑day work.
During my time at Havas Media Network, I saw first-hand how the right internal structures can surface hidden gems and turn them into award-winning campaigns.
The evolution: making great media work visible
Earlier in my time at Havas Media Network, we relied on an internal awards festival to surface the network’s best work. Twice a year, agencies submitted their strongest campaigns, which were reviewed by judges from across strategy, planning, and creative.
At that stage, the system did exactly what it needed to do. It made work visible across a large network, encouraged healthy competition, and, crucially, helped instill an awards culture within media.
But it also had clear limits.
Because cases surfaced only twice a year, they often arrived late. In many instances, campaigns had finished months earlier, which meant less momentum, fewer opportunities to shape the narrative, and reduced traction in the awards circuit.
At the same time, the process was open to any case agencies wanted to submit, which meant a significant amount of time was spent filtering work that ultimately wasn’t awards-worthy.
Many of the people shaping the agency’s creative direction also weren’t directly involved in those decisions. Selection happened long after the work was launched into the market, leaving little opportunity to influence how cases were developed, strengthened, or positioned for awards.
Even so, the impact was real. We went from a handful of global awards in 2015 to more than 400 by the time I left Havas Media Network, with consistent appearances in the WARC Rankings from 2018 all the way to 2025.
Building on those learnings, a more selective and strategic model followed: The Creative Media Council, wich was inspired by how the Havas creative network already curated and elevated its strongest ideas with their Creative Media Council.
The solution: the Creative Media Council system
A creative council is a framework that consistently surfaces and improves work. Here’s how it works:
Regional councils: Each region hosts a monthly review where local agencies upload and present their best campaigns. Council members debate and vote on whether each case is awards‑worthy. Only the work deemed worthy at this stage is advanced to the global council.
Global council: Representatives from all regions meet to consider a long list of cases that have passed regional review. They discuss, refine and narrow it to a shortlist. After the meeting, participating agencies receive feedback on whether their case is shortlisted, needs reworking or is ultimately not selected.
This approach helps in three ways:
Consistency: Work is reviewed regularly, not in last-minute rushes.
Collaboration: Teams build ideas together instead of competing in isolation.
Quality: By the time a case is entered, it has already been challenged and strengthened.
A It also enables early case development. Campaigns can be reviewed as soon as they’re approved, long before launch, creating time to gather results and shape stronger narratives.
Decisions are informed by diverse perspectives, not just creatives, but media strategists, data experts and other media leaders who understand what’s happening across markets.
This isn’t just for big networks
Creative councils aren’t reserved for global agencies.
They may matter even more for small and independent agencies that can’t afford to “play the odds.” When resources are limited, you don’t enter work because maybe it will win, you enter because it genuinely deserves to be there.
Smaller agencies don’t need complex structures. A lightweight council, the right eyes, a regular review moment, and one person accountable for the process, is often enough.
You don’t need scale.
You need clarity, discipline, and accountability.
A proven model, not a theory
Havas was not the only one doing this; several of the most awarded organisations have built similar systems:
AB InBev uses a programme called Creative X with training, a Creative Council to assess work and internal Creative X Awards to celebrate the best ideas. This has helped them turn campaigns like Michelob Ultra’s “McEnroe vs McEnroe” into award magnets.
Unilever runs a company‑wide Creative Council of CMOs, brand leaders and agency heads, and local creative councils meet quarterly to pitch and challenge ideas. The result? 230+ Lions and back‑to‑back Creative Marketer of the Year titles.
FCB holds global creative councils twice a year; every office brings its work and collaborates to strengthen it. Former global CCO Susan Credle credits these councils for creating a culture of inspiration instead of internal competition.
DDB Worldwide has a “Bullseye” Global Creative Council that now includes rising creative talent. Their 2025 Network of the Year win was powered by this programme.
What I’ve learned
Creative councils exist to protect great work.
The biggest mistake agencies make with awards isn’t poor case studies, it’s entering work they were never truly sure about.
Councils don’t guarantee wins, but they force clarity. They ensure awards are a consequence of confidence, not chance.
Because the smartest awards strategy isn’t entering more.
It’s knowing exactly why you’re entering at all.
