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Nowhere is the uneasy relationship between designers and the ad community more obvious than at that orgy of self-congratulation known as the D&AD Awards ceremony. No sooner do examples of designers' award-winning work hit the big screen above the podium, then agency types either disparage or ignore it. Doubtless the attention span of many designers matches that of a goldfish when the best of the ad industry's output goes on show.
This disconnect is easy to understand. Winners in the design categories can often seem self-indulgent and obsessed with niche products few people ever encounter. They seem to lack the relevance of mainstream ad campaigns such as John Smith's and Audi, whose credibility and relevance is built through driving sales. The 'luvviness' and insularity which bedevilled D&AD for so long - but now thankfully dissipated - seems to be the main reason for this. Nevertheless, it remains hard to take some D&AD judgments seriously when a redesign for a small Japanese clothes shop gets a Pencil.
Against that background, the decision to bestow the D&AD President's Award on Wally Olins and Michael Wolff for their 'outstanding contribution' to the design industry is significant. The pair were pioneers of the ...