The best campaigns this year were confident and simple, according to Australian creatives.
‘Yes, I DiDi’ takes the crown as this year’s most loved creative campaign, with its hypnotic music and spectacular casting.
Other highlights included Telstra’s ‘Scamageddon’, Cadbury’s ‘Made to be Enjoyed, Not Endured’ and Bankwest’s ‘Just Enough Bank’.
With the end of another year fast approaching, the industry shines a light on their favourite creative campaigns from 2025.
A clear favourite emerges
Wellison D’Assuncao, creative director at Think HQ, said Sunday Gravy’s ‘Yes, I DiDi’ launch campaign was his favourite.
“Nudgy, a brilliantly bizarre blend of Rod Stewart, Alice Cooper and a mischievous leprechaun, makes the ads irresistibly captivating,” he told Mediaweek.
“I especially love how the idea taps into a universal human truth. We’ve all had ‘that night’ when a mate gets a certain glint in their eye and what begins as a quiet outing spirals into an epic adventure that gets retold at every reunion.”
Matt Holmes, head of creative strategy and ideation at Mediabrands Content Studio, agrees.
“‘Yes, I DiDi’ gave the Australian industry something rarely seen: a brave, joyfully unhinged creative with a strong category insight,” he said.
“In a sea of safe work, this crash-tackled its way into culture.
“Nudgy is the real genius move… a perfect foil to the competition’s hugely successful celebrity-polished world.
“And that flute track. The hypnotic, looping sonic hook burrows into your brain in the best way. It’s rare to find sonic branding that feels this fresh, this distinctive and this meme-ready.”
Justin Ruben, founder of Oblong Creative, said it was hard to single out one campaign.
“It was a year full of robots making ads. The ones I’ve chosen we’re hopefully mainly made by humans with just a robot hand,” he said.
Some of the local spots I really liked were the Telstra ‘Scamageddon’ spot, fantastic casting, art direction and a really funny idea. I must also call out the ‘Yes, I DiDi’ spot just for being a little unhinged.
“Some other favourites were the Cadbury made to share packaging, which I thought was a great way to bring the brands platform to life in a fun and engaging way and the ‘Vaseline Verified’ campaign which was a brilliantly authentic social idea.”
Others which captured attention
Stacey Saunders, general manager of Houston Group, said Bankwest’s ‘Just Enough Bank’ was “beautifully simple” and made her feel something.
“The woman with the wild hair beneath that Tom Selleck poster caught me off guard, she creeped me out, then had me laughing within half a minute,” she said.
“These spots give the work permission to celebrate the wonderfully weird things we all do. I would’ve loved to be in the writers’ room as they riffed their way to those universal quirks – like my habit of snapping chocolate inside the wrapper at the supermarket as a fully grown adult.
“In a busy world, we need more time for the things that actually serve us, not faffing around with banking admin. And that’s exactly what this campaign captures so well: brand meets human truth, observed with remarkable clarity and humour. I already want to call the bank just to chat to whoever picks up.”
Jeremy Hogg, national executive creative director at M+C Saatchi, described ‘The Periodic Fable’, created by Uncommon Creative Studio for The Ordinary, as a standout.
“The idea, the film, the OOH – every single piece is stunning and distinctive. They’ve sweated the details and it shows,” he said.
“I love the dystopia; it draws you in and then artfully dissects and dismantles the dark side of the beauty industry through a collision of science and buzzwords.”
Georgia Payne, copywriter at DDB Melbourne, said Cadbury Bournville’s ‘Made to be Enjoyed, Not Endured’ was her top pick.
“It’s rare that every single line of dialogue hits, but this is such a beautifully crafted script,” she said.
“It’s sharp, self-aware and confident. And I love that they’ve managed to play the ‘world’s gone mad’ card without giving ‘old man yells at cloud’.
“The game of one-upmanship between the two choccy aficionados remains innocent, playful and almost sibling-like – escalating into the perfect level of absurdity.
“I don’t know what I’m more bitter about… the fact that I didn’t write this spot myself or that my dad insists 95% cocoa chocolate tastes good.”
Penny Buck, executive creative director at Jane Doe Creation, said she enjoyed Jacquemus’ new TikTok campaign.
“Critics have called it ‘one of his most personal expressions to date’ and you feel that instantly,” she said.
“The camera lingers from a low child eye angle, letting the scenes unfold through the quiet, observant eyes of a child watching his mother drift through her day.
“Rather than constructing a fantasy world, Jacquemus invites us into his own, allowing the intimacy of his past to shape the present.
“The result is tender but modern, nostalgic without leaning retro, and anchored in a kind of emotional clarity that luxury rarely attempts.”
Phil Pickering, head of strategy at Havas Host, said Kathmandu’s ‘Outside Your Comfort Zone’ was “refreshing” because it didn’t rely on wall-to-wall voiceover or a dramatic soundtrack.
“Outdoors brands usually treat nature like something you have to battle or brace yourself for,” he said.
“Kathmandu took an unusual route to the category. Instead of gearing up to conquer the outdoors, they design gear that makes nature a place you can feel at home, your comfort zone.
“It is beautifully observed, strikingly calm and confident enough to let the idea breathe. As someone who loves spending time outdoors, it genuinely made me want to get out there again.”
Cameron Brown, creative director at Enigma, said 1001 Optometry’s hidden eye test was “arresting, clever and perfectly crafted”, even though it left him feeling mildly vision impaired.
“I saw it. And I was wearing my glasses. Which clearly means I need a stronger prescription,” he said.
“The ‘If you see it, you need it’ campaign from VML is one of those simple, genius ideas that stops you in your tracks.
“No over-explaining. No big stunt. Just a beautifully pure idea that turns everyday media into a diagnostic tool. I wish I’d thought of it myself – and those are always my favourite kinds of ads.”
Jessica Cluff, head of earned creative at Emotive, said GAP’s ‘Better in Denim’ campaign stood out for its restraint, calling it “the coolest expression of y2k nostalgia.”
“Back in the 90s, GAP were the ones who always tapped into THE faces and voices of the moment. Then they became just another mass produced clothing chain,” she said.
“With this ad – and other recent ones with Troye Sivan and Parker Posey – they’re not just saying we’re back, they’re proving it.
“Focusing so purely on the dance meant it spawned a bazillion searches, recreations and remixes on Tik Tok. If dance had been the afterthought, the ad would never have had the same social impact.”