South Korea’s MAD STARS 2026 opened today in Busan with a “Conversation with the Executive Jury” session on opening day. Five global creative leaders each highlighted an entry from this year’s judging that left a lasting impression on them.
The panel was moderated by Kim Shaw, Publisher and Editor of Campaign Brief Asia, and included Sandipan Bhattacharyya, Chief Creative Officer, Monks; Raja Rajamannar, Senior Fellow and Former Chief Marketing & Communications Officer, Mastercard; Anny Havercroft, Global Head of Product MarComs, TikTok; Tara McKenty, Chief Creative Officer, AKQA; and Aurora Straton, Creative Lead, Google.
Insight rooted in culture and empathy
Bhattacharyya opened the discussion by highlighting “The Giant,” created for AYUDHYA CAPITAL SERVICES CO.,LTD. by LEO BANGKOK. Drawing on a Thai insight that unexpected expenses can feel like bad luck falling from the sky, the campaign dramatized the value of having a Personal Loan card ready before financial trouble occurs.
“Financial services is a tough category to stand out in, and the standard for humor within it is incredibly high,” said Bhattacharyya.
“It’s absurd on the surface, but the more you watch it, the more strategic it becomes.”
Rajamannar chose “Humanity Chain,” created for FORTE BANK by PROGRESSION CA, a project designed to build an emotional connection with a broader consumer audience as ForteBank expanded into the retail market. The campaign turned a viral moment — strangers forming a human chain to rescue a dog — into an interactive bronze sculpture.
“They took a moment of empathy and mutual support and memorialized it in bronze, creating something truly timeless,” said Rajamannar.
“The theme is so universal that no matter where you’re from, you can’t help but connect with it. It leaves a lasting impact.”
Havercroft highlighted “Safetynovela,” created for PHILIPPINE AIRLINES, INC. by BBDO GUERRERO. The campaign used melodrama and actors from the Philippines’ telenovela genre to improve in-flight safety instruction recall.
“The team tapped into culture to solve a very dry, functional problem,” said Havercroft.
Proactive solutions and invisible technology
McKenty highlighted “TileChalk,” created for DBL CERAMICS LIMITED by POP5, an initiative that transformed ceramic waste into non-toxic chalk in Bangladesh. The project addressed an industrial waste issue while supporting Bangladesh’s local chalk industry.
“Instead of just landing in the traditional space of communication, the agency saw this waste issue and stepped in to intervene,” said McKenty.
“It solves a problem for one industry and consequently for another, empowering people to make an ethical choice. This is true APAC innovation that can be scaled to the world.”
Straton closed the discussion with “Radio Time Machine,” created for NICHII GAKKAN CO., LTD by TBWA\HAKUHODO INC., an AI-powered device designed to support reminiscence therapy for people with dementia. The device combines large language models and AI voice synthesis with the interface of an analogue radio.
“This is user-first thinking, in the content and in the design,” said Straton.
“What excited us most was the invisible technology. Without AI running quietly underneath it, this experience wouldn’t exist, but it never once feels like technology.”
What’s next
The standout campaigns, along with other finalist entries, are on display at the festival’s exhibition. MAD STARS 2026 runs through 28 August at SIGNIEL Busan under the theme “AMPLIFY,” with a networking event scheduled for 27 August ahead of the Awards Show on the afternoon of 28 August, where this year’s winners will be revealed.
To learn more, visit MAD STARS here.
