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AWARD Awards
B&T Awards
Australian Effies
AdFest
Shots Awards
If there is one agency living up to the spirit of this year’s B&T Agency Scorecards, it’s Saatchi & Saatchi.
Its copywriter and MVP William Campion was a proper muso before turning his attention to advertising, while star strategist and new (ish) recruit Leif Stromnes could certainly pass for a Seattle-based grunge guitarist.
Stromnes joined Saatchis from DDB late last year and the South African is regarded as one of the sharpest creative strategists going around.
Stromnes works alongside creative powerhouses Mandie van der Merwe and Avish Gordhan, rounding off an impressive leadership team under boss Patrick Rowe, who reckons he’d be the bass guitarist.
That said, B&T would love Saatchis to make a bit more noise throughout the year given it picked up an impressive haul of silverware.
The Toyota Hilux ‘In a Pickle’, which first hit TV screens in late 2024 and shows a Hilux pulling cars outside of a big mud puddle, was one of the standout ads of the year and picked three Effies and was shortlisted at Cannes.
The campaign also picked up a B&T Award for Best TV campaign.
Other work that caught the eye was Toyota’s ‘Good As New’ campaign, and another HiLux ad which sees the tray swamped with cute pooches.
Arnott’s ‘Bikkie Belt’, which allows tradies to keep their favourite Arnott’s snacks with them at all times, was another banger.
The quality of Saatchi & Saatchi’s work was matched by a solid (if not spectacular) run of new business success.
The agency added the likes of Bank of Queensland, Youfoodz, Kraft, RSPCA and Nerds, to name a few. A major loss was the TPG Telecom (Vodafone) account to Howatson+Company.
When bass guitarist Rowe spoke to B&T last year, he talked about bringing a sense of fun back to advertising.
We reckon he is living up to his promise.
By unlocking a little bit more unseen growth, on the new business front and in the trophy cabinet, Saatchis could once again rise to the top of the class.
With car advertising usually obsessed with the ‘new’ – new features, new tech, and new styling – we set out to challenge the arrival of “new” with a brand story that spoke to our greatest differentiator; i.e. the quality, durability and reliability of our vehicles. Rather than sell the new, we sold the notion of longevity. Something no new entrant can ever take from us.
We sourced Toyota vehicles spanning fifty years – including a 1987 Corolla, 1984 LandCruiser, 1994 RAV4, and a 2003 Prius.
Using each model’s era as our blueprint, we methodically recreated the aesthetic of the time. We didn’t just film old cars; we resurrected the filmmaking of their eras.
Using specific film tropes, long-forgotten camera techniques, and period-specific editing and colour grading, we convinced the viewer they were watching a lost piece of vintage advertising. This extended to composing era-appropriate music and meticulous
production design, wardrobe, and makeup. This nostalgic immersion set the stage for the ultimate reveal: transitioning from the ‘then’ to the ‘now’. It was a seamless creative pivot that used the craft of the past to validate the engineering of the future – proving that every Toyota, no matter how old, is always as good as new.
At the start of the year, when people reset their diet habits, we wanted Australians to remember the healthy, easy option of Youfoodz ready-to-eat meals. But with a tiny budget and relatively low awareness, we needed a way to make people listen. So we tapped into a universal January feeling: the dread of returning to work after the holidays.
We created PHAARC. Pronounced Fa-aaa-k.
Post-Holiday Acute Aggravated Rebound Condition was a completely made-up medical condition capturing the symptoms Australians feel when the break ends – including the misery of preparing work lunches again. Thankfully, Youfoodz had the cure.
PHAARC appeared on city streets, train stations and office elevators. Our out-of-home met people on their way to work, while radio and mobile films followed them on their commute.
Our voice of authority was as ridiculous as the acronym: a fictional doctor diagnosing PHAARC sufferers who were experiencing
the same back-to-work misery as our audience – just slightly sillier. Traffic drove to a microsite within Youfoodz where visitors could take a quiz and self-diagnose. Results prescribed Youfoodz meals as treatment, available to order instantly.
Despite complaints from people convinced we were broadcasting profanity, PHAARC put this tiny challenger brand firmly at the top of people’s minds. And on their lips too.
For the fourth year running, Arnott’s sponsored Australia’s most popular renovation show, The Block. Which is great, because millions tune in. Less great, because every surface already has a logo on it.
In a sea of integrations and “subtle” brand moments, even Australia’s number one biscuit brand risked becoming background noise. Add to that the fact that The Block is a world of power tools, plaster dust and tradies being tradies – while Arnott’s isn’t exactly known for pulling its weight on a jobsite.
So we built something that could.
Introducing the Arnott’s Bikkie Belt: a limited-edition piece of jobsite-ready workwear designed to carry Arnott’s snacks with the same seriousness people carry tools.
Instead of placing biscuits on benches and hoping someone noticed, we created an object that merged Arnott’s into the world of The Block in a way you couldn’t ignore (because it was literally attached to someone’s waist).
The belt was real workwear, crafted from waterproofed suede leather with durable stitching, a brass buckle and an adjustable fit.
Every pocket was prototyped to match Arnott’s packet sizes for snug, one-handed access.
Integrated into the show, amplified through social and influencer content, and released as a fan giveaway, the Bikkie Belt turned a sponsorship into something people actually wanted.
A very serious tool belt for very unserious treats.
2025 was a bumper year for Saatchi & Saatchi. Our Hilux ‘In a Pickle’ campaign got lots of attention, winning TV Ad of the Year twice, shortlisted at Cannes and driving impactful results for Toyota including 3 x Effies, while we launched major campaigns for Lexus, Ampol, 13CABS, Arnott’s, Nestle and Animal Welfare League, translating creativity into commercial growth.
We had a huge new business year welcoming ten new clients and winning eight pitches, including, Bank of Queensland, Youfoodz, 13CABS, RSPCA, Pet Insurance, Kraft and Nerds candy.
Saatchi & Saatchi won more Effies for more clients than any other agency, cementing our reputation as a driver of growth. We won a record 8 Effies including the prestigious Colin Wilson-Brown Award and we were runner up Effie Agency of the Year. On top of that we scooped accolades from AWARD Award, AdFest, Shots and MADC.
And we also brought in lots of new talent including our new CSO Leif Stromnes.
At Saatchi & Saatchi, our Nothing is Impossible creative spirit combined with access to Publicis Groupe’s Connected ID data sets means we can truly unlock unseen growth for our clients. Bring on 2026!
Muso. Turned trademark lawyer. Turned advertising whiz. Member of the ACA Futures Board. Hilarious. Whip-smart. Makes copywriting look easy. Great hair.
Two brothers. Unshakeable belief. Work that didn’t just win awards – it moved people, lodged itself in culture, and refused to be ignored. Could also be annoying at times.
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Critic's Comment
“A solid set from Saatchi & Saatchi highlighted by consistently good work and recruiting some excellent band members.”