DDB crowned Campaign Brief 2025 Australia Agency of the Year ~ a year forged in conviction, culture and an unwavering belief in the work
There are years that are about momentum, and there are years that are about meaning. For one agency, 2025 was unmistakably about both – a year forged in conviction, culture and an unwavering belief in the power of the work. And it went through the world’s largest agency shake-up to merge with Clemenger BBDO. 2025 was one hell of a year. For the last time ever, DDB is Campaign Brief 2025 Australian Agency of the Year.
“Well, who knows what DDB will look like in 2026? But what we can say is: we had a hell of a year in 2025.” This award entry line neatly captures the emotional and creative arc of DDB Australia’s Agency of the Year win, an achievement built not on certainty or comfort, but on purpose, culture and an unshakeable belief in the work.
In a year marked by industry volatility, structural change and the looming extinction of the iconic DDB brand, the agency delivered one of the strongest creative and commercial performances in the market. The result: Campaign Brief Agency of the Year, alongside a string of regional and global accolades that underscore just how potent DDB’s product was when it mattered most.
By the numbers alone, 2025 was extraordinary:
DDB delivered a world-class, diverse portfolio of creative work, securing 29 new business wins across the region, including high-profile partnerships in Australia with TAC, DoorDash and TK Maxx, plus wins for RSPCA, Brisbane Broncos, Credit 24, Ingenia, Sucasa Mortgages and Kindness Factory.
On the awards front, the agency was named #1 Regional Network of the Year ANZ at Cannes Lions, Network of the Year at AWARD, and #2 Australian Agency in Campaign Brief’s The Work. This was supported by an expansive haul across Cannes Lions, Spikes Asia, Effies, AWARD, MADC, Meta Awards and Andy Awards.
It was one of DDB’s biggest total annual awards performance in years. But what makes this year resonate more deeply is not just what was achieved but how it was achieved.
For DDB Sydney CEO Sheryl Marjoram, the Agency of the Year win carries weight far beyond trophies: “It means something. And that’s a lot. Because I needed DDB to mean something. It means something for the people who made the work, and for the legacy of the agency whose name is still on that work.”
Marjoram is clear-eyed about the realities of modern business, and why this recognition matters. Says Marjoram: “A lot of businesses close for reasons that have nothing to do with the quality of their product – timing, economics, ownership changes, strategic shifts. But the product can sometimes cut through all of that. This award says the truth: the product was good.”
For Marjoram, the win is a definitive statement about the people behind the work.
“It’s proof that the people of DDB – the strategists, creatives, suits, makers, producers, and partners – were still absolute champions. It says clearly that the sunsetting of DDB had nothing to do with their ability, their ambition, or the quality of what they delivered every single day.”
She frames the year within a broader historical context, reminding the industry that excellence doesn’t always align neatly with longevity.
“History is full of brilliant products that didn’t survive for reasons totally unrelated to quality. The world changes. Strategy changes. Corporate structures change. But great product is great product. And that is what this award recognises. It honours the team, the craft, and the spirit that built DDB’s best work – and reminds everyone that the reasons behind a closure can be complex, but the talent behind the work was never in question.”
If Marjoram speaks to meaning, DDB Melbourne CEO Mike Napolitano points to the mechanism that made it all possible: culture.
Says Napolitano: “It’s about nothing other than culture. When your product comes directly from people and how they feel, everything comes down to the ecosystem that surrounds them.”
In a year defined by uncertainty, Napolitano says what DDB’s people achieved was exceptional: “That ecosystem is fragile and increasingly rare – great creativity doesn’t thrive in fear, chaos, or confusion. Which is why I’m in awe of what our people achieved this year. To produce work of this calibre in the middle of uncertainty is extraordinary; it speaks to their resilience, their generosity, and their belief in each other.”
Leadership, he says, came down to protecting the conditions required for creativity to flourish. “We were intentional about creating psychological safety, clarity, momentum, and that ‘free-range creative’ space that lets people think big, think bravely, and think well. That’s the real story behind this win – the culture held, and the people soared.”
For Marjoram, great work is inseparable from great client relationships. “They are always at the centre of anything good. Great work doesn’t happen for clients – it happens with them. They’re the ones who back the thinking, push the ambition, protect the space for big ideas, and stay brave when things get uncomfortable.”
She rejects the idea of an “award-worthy client” altogether. “Creativity doesn’t need a special type of client; creative opportunity is everywhere when you’re not chasing awards and you’re focused instead on the impact you can make.”
The agency’s work in 2025 – from long-term brand platforms to culturally responsive, earned-led ideas – reflected that philosophy in action.
When asked whether the win reflects a specific creative philosophy or the cumulative impact of many decisions made over the year, DDB Chief Creative Officer AUNZ Matty Burton says: “If I’m honest it feels like neither of those. I’d say it’s a cumulative impact of the people.”
Burton credits a relentless focus on fundamentals: “We’ve had the world changing around us now in all sorts of ways and over the past five years, these people have just focussed on what they can control and that’s the work. Respect the opportunity. Respect the audience. And respect each other. Pretty simple really when you boil it down, we just tend to over complicate it sometimes.”
He also sees the year as part of a broader industry correction: “We’ve always known it and we’re starting to see the shift slowly, but the biggest trend is focussing on effectiveness. Not efficiencies. And to do that – well you need things that are odd shaped and not been seen in the world before. For creative people, there has never been a better time to do what we do. It may not feel like it sometimes, but I honestly believe that.”
For DDB Sydney Chief Creative Officer Matt Chandler, one campaign symbolised the agency’s resurgence: “The Volkswagen work this year was exceptional, and in our last year as DDB felt like a poetic way to close. But I’d have to say that our relaunch of DoorDash really stands out for me.”
Not just creatively, but culturally: “That pitch, among several others last year, was so important in helping us find our identity again – along with our self-belief. And it wasn’t just the people of DDB who made that happen, it was immensely generous and supportive clients, both new and existing, who really backed us.”
The result was a renewed confidence in DDB’s collaborative muscle, says Chandler: “The fact our first big pitch resulted in work we’re all so proud of was powerful for us as a collective – to know that if we just did what we do, collaboratively, conscientiously and – let’s go with one more C word – courageously, good things would come. As they did.”
DDB Melbourne Chief Creative Officer Psembi Kinstan rejects the notion that tighter budgets and faster turnarounds justify lower standards: “Timelines have always been fast. Budgets can always be bigger. But work within what you’ve got, and if you don’t like them, show the client exactly why they should consider changing them. These are not excuses for making average work. Some of our best ideas have been pulled off in a few days – Forbidden Flagmojis – and others have taken more than two years – University of Dyslexic Thinking – and many are done on a shoestring.”
Instead, he points to discipline, craft and realism: “We judge our ideas against how we’ll pull them off; there’s no point pitching an idea you know you can only afford to make badly.”
Consistency, not isolated brilliance, defines the agency’s output. “We’ll bounce between a big integrated campaign for Coles or the TAC, an experiential and earned piece for Acciona, a topical campaign for Crikey, and a pitch or three, and each of them will be beautifully crafted and delivered. They could all be opportunities, certainly none of them can afford to be misses.”
And, whilst it’s a year to be proud of, it hasn’t been an easy one. That understatement runs quietly beneath DDB Australia’s 2025 story. But whatever the future holds – including the agency’s evolution into Clemenger BBDO – this was a year of undeniable substance.
Says Group CEO AUNZ Priya Patel: “Across Australia and New Zealand, our ambition wasn’t just to run great agencies, but to build one shared team – united by the belief that brilliant ideas can come from anywhere. When we collaborated and backed each other properly, we didn’t just grow the business; we created new opportunities for our people, and our clients.
“We’re so pleased to see that reflected in the Campaign Brief AUNZ ‘double’ win – it’s a lovely nod to what happens when we pull in the same direction and an amazing send-off for the DDB brand.”
Whatever happens next, 2025 was a year the people of DDB can always be proud of. Because, as this Agency of the Year win confirms, the product was good. The culture held. And the people delivered.
The work seen and noted in 2025:
Solid Lines – Forbidden Flagmoji
While 268 flags exist as emojis in Australia, the Aboriginal flag does not. When Apple launched Genmoji, DDB hacked the AI, bypassing Apple Genmoji’s restriction on the word “flag” to create the Aboriginal flag emoji. Within 24 hours, it reached over 21 million people and prompted Google Gemini to surface the prompt in search results.
Volkswagen – Batteries Included
This campaign marked the beginning of Volkswagen’s EV era in Australia. Building on the “Let’s Go for a Drive” platform, DDB leaned into the joy of driving through the lens of three new electric vehicles: ID.4, ID.5 and the iconic ID. Buzz.
McDonald’s – Squad Meal
Nothing beats a group of mates hitting the open road for a Macca’s Run (aka Aussie slang for “Wanna get McDonald’s?”) during summer. DDB celebrated that ritual with an ad showing just that – except this was no ordinary group of friends. The OG Macca’s characters took on Australia for an epic road trip, mirroring real Aussie behaviours through group chat threads, road-trip banter and summer vibes.
McDonald’s – McSmart
With cost-of-living pressures front of mind, Macca’s launched the McSmart Meal – a $6.95 Cheeseburger value meal with a choice of four sides. DDB tapped into the deep fandom around those sides by posing the ultimate question: What side are you on? What began as a simple retail idea became a cultural conversation connecting value, fandom and identity. Sales averaged 24% above projections, and the meal now accounts for 5% of all Macca’s sales in Australia.
McDonald’s – Cheesy Shirt
To further promote McSmart, DDB celebrated the most loved burger wrapper on the planet, transforming the iconic cheeseburger packaging into Australia’s must-have fashion item.
McDonald’s – Hot Honey
Late to the global Hot Honey trend, Macca’s needed to generate fame with Gen Z. DDB positioned a drip of Hot Honey sauce as a symbol of cool by linking it to global fashion’s drip culture. Partnering with a streetwear icon, DDB created a limited-edition t-shirt that became a canvas for one-of-a-kind designs at an exclusive launch event. Wherever Hot Honey dripped onto a tee, a patch was embroidered – transforming each shirt into an ultra-rare, one-of-one custom drip.
McDonald’s – Sneaksheets
As Aussies returned to work after the Christmas break, DDB targeted office workers with eye-catching spreadsheet artworks. With more than 760 placements across digital OOH, office lobbies and elevator screens, the work reminded people heading back to the grind that there are always more delicious things to crunch than numbers.
McDonald’s – Origin Meal
In 2025, KFC held the sponsorship rights for State of Origin, meaning McDonald’s couldn’t mention it outright. Rather than talk about it, DDB let fans do the talking by splitting the menu in half and creating two meals – one for NSW and one for Queensland. The rivalry spoke for itself.
Volkswagen – cAmarok
There’s no ute that makes tough terrain feel as smooth as an Amarok. So, when DDB needed to film one effortlessly navigating a rocky mountainside, another Amarok was brought in – to keep the camera steady. That one was called the cAmarok.
Volkswagen – Batteries Included OOH
The campaign extended into OOH, with DDB creating vintage toy packaging for the Volkswagen EV range, reminding people of the fun waiting behind the wheel.
Volkswagen – Living Print Ads
The first in a series, this spot pays homage to Volkswagen’s iconic print work of the 1960s. Opening like a classic print ad, the camera then breaks the illusion, with VO explaining why the all-new seven-seat Tayron was made just that little bit longer.
Škoda – Thieves
Škoda’s electric range looks and feels like cars – they just happen to be electric. With no unnecessary gimmicks or spaceship styling, they feel right at home on Aussie driveways. To launch the Škoda Elroq and Enyaq, DDB staged a twist on expectation: would-be fuel thieves attempting to siphon fuel… from an electric vehicle.
Credit24 – Puppet & Pirate
To introduce new client Credit24 to the Australian market, DDB created a cast of genuinely odd characters, exposing the villainous tactics other lenders use to trick people into bad deals and positioning Credit24 as the more trustworthy alternative.
DoorDash – The Bags
In DDB’s first work for Door Dash, a loveable ragtag cast of characters called The Bags was brought to life. Made with Australia’s best puppeteers and Revolver’s Jeff Low, the platform positions DoorDash as local lifesavers – out on the street getting Aussies what they need, when they need it.
IKEA – Flip Flöps
To celebrate 50 years of IKEA in Australia, DDB created the world’s first-ever flat-packed flip flops – FLIP FLÖPS – which customers had to assemble themselves. The fusion of a key brand behaviour with a national icon sparked a media frenzy, featuring across Sunrise, Channel 7, Today, Channel 9 and Channel 10.
Brisbane Broncos – Brand Redesign
DDB was entrusted with redesigning the logo of the 2025 NRL Premiers, the Brisbane Broncos. Under the new platform We Charge On, DDB worked with the club to deliver its first identity refresh in 20 years. The QLD Premier summed it up: “I give it 100 out of 100. It’s absolutely perfect”.
Coles – Rudolph
Christmas is magical for humans but for dogs, it can be agonising. Enter Rudolph: a very hungry Basset Hound in reindeer antlers, embarking on a quest for a Christmas morsel in Coles’ festive campaign.
Acciona – Turbine Made
With 50,000 turbine blades set to reach end-of-life within five years, DDB partnered with Acciona to create Turbine Made, a first-of-its-kind circular solution turning old blades into a new recyclable material. The launch featured a surfboard made from turbines, with further partnerships in development.
Crikey – Crikey for PM
To expose flaws in Australia’s political advertising system, Crikey did the unthinkable – it participated in it. DDB helped Crikey run for PM, campaigning with every legal trick in the book, while each ad highlighted the practices that should be outlawed.
Our Watch – The Comfort Zone
In a world where young people are constantly exposed to online misogyny, DDB partnered with Our Watch to create Comfort Zone, an interactive board and social game that helps young people explore consent, respect and emotional boundaries.
Belong – Data Rich
Belong’s emoji-bling-infused, baroque-meets-hip-hop campaign featured UK rapper Taz and showed Aussies how to get data rich with unlimited data banking and gifting. The Data Rich Opera turned unused data into something worth singing about.
36 Months – First Best Summer Ever
A summer without social media means less anxiety, less screen addiction and better mental health. As the social media delay for 13–16-year-olds came into effect, DDB partnered with brands to offer real-world experiences – from $5 movie tickets to exclusive drops – making switching off something to look forward to.
Made By Dyslexia – Trillion Dollar Question
For Dyslexia Awareness Day, DDB helped Made By Dyslexia to launch a global Out Of Home campaign spotlighting the economic power of Dyslexic Thinking. The campaign centred on a new report showing the United Kingdom could more than triple its economic contribution – from £29.5 billion to £98.2 billion – by empowering dyslexic thinkers.
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