Cannes 2026: What was the ultimate French takeaway?

As the dust settles on yet another Cannes Lions International Festival of Creativity – and attendees get back to the day to day grind – naturally it has been hailed as yet another vintage year by some.

Awards-wise, entries were down 25% this year yet UK agencies still bagged 84 gongs, with six grand prix – including Mother’s campaign for Anthropic’s AI chatbot Claude and VML London and Burson London for The KitKat Heist – two Titaniums, 14 golds, 24 silvers and 38 bronzes.

Even French president Emmanuel Macron made an appearance, delivering a special video address to delegates, celebrating France becoming creative country of the year.

However, the awards are only part of the reason to attend, with the chance to meet clients and colleagues from around the world, exchange ideas and take the pulse of the industry among the biggest draws.

Many back in the UK were taken in by a mocked up London Underground poster which read: “Unbearably hot out there. The sun is absolutely relentless today. It’s like opening an oven door… and the oven is angry with you. Please carry water, wear light clothing, and try to remember that it’s only temporary. On the bright side, the marketing industry is away in Cannes till Monday. Small mercies.”

But just what did those who pounded the Promenade des Anglais really get out of the event?

For Pumpkin head of events Ella Wallace-Browne, who was on her fifth trip to Cannes, one trend stood out: the creator economy has arrived.

She explains: “Creators weren’t just on stage, they were everywhere, ring lights in hand, shaping the conversation in real time. With the creator economy projected to reach $480bn by 2027, Cannes reflected a clear shift in how brands think about influence.

“The biggest opportunity is no longer just creating content; it’s building communities that actively participate and co-create with brands. As dedicated creator spaces become fixtures on the Riviera and CMOs look beyond one-off campaigns towards lasting partnerships, it’s clear that creators are no longer an add-on to the marketing mix. They’re becoming strategic partners, helping brands turn audiences into engaged communities and attention into long-term value.”

However, Teads chief commercial supply officer Stephanie Himoff was more struck by the debunking of the narrative that news is dying.

She comments: “Reach is still growing, trust is strong in the news environment and news consumers are engaged. In a world proliferated with AI content, there are few places as safe and as trusted as news.

“It remains a challenge to prove the ROI of investing ad spend in news. While executives broadly recognise its value, with Stagwell research indicating that 86% saying companies should advertise on news media and 87% calling it a sound investment to reach and influence stakeholders.

“There is of course a fear around extremist content and hard news, but that fear that isn’t justified by data. What’s more, legacy keyword blocklists and outdated brand safety protocols continue to limit investment.

“Technology needs to be the bridge here, with smarter AI tools and new protocols available to help publishers maximise both yield and user experience rather than forcing that trade off. Publishers must choose a tech partner that has their best interests at heart to help them do that. The Google Zero era is here. We must be ready.”

Meanwhile, Fuse acting global CEO and COO Monica Conway reckons that this was the year where the power of sport was truly palpable at Cannes.

She says: “Against the backdrop of the World Cup, Lions Sports and rights holder activations brought the energy of global sport to the Croisette. Far from being a niche channel, sport is one of marketing’s most effective platforms, driving fandom, community, long-term brand building and business growth.

“My standout was ‘The Thousand Sponsors of Muni’, which saw Peruvian club Deportivo Municipal and McCann, Lima, turn a football shirt into a growth engine by replacing one major sponsor with 1,000 local Peruvian businesses, and took home the Grand Prix in the Entertainment for Sport category.

“It created value for both the club and its community, demonstrating the emotional and commercial power of sport. The idea simply wouldn’t have worked without sports sponsorship, making it especially rewarding to see the kind of work we deliver every day recognised on the Cannes stage.”

But the final word goes to Sparks executive creative director Trin Basra, who reckons that a significant emerging theme in Cannes is that we are not facing a technology crisis but an attention crisis.

She explains: “The work that left the biggest impression wasn’t trying to reach more people; it was creating moments that people genuinely want to be a part of.

“Achieving that requires cultural fluency, particularly across Europe, where the difference between work that resonates and work that misses the mark often comes down to interpretation rather than translation.

“It was also clear to see that the next generation of creatives is already redefining the industry. The question is whether industry veterans are prepared to let them reshape how we work, not just invite them to join the conversation.”

Cannes 2026: What was the ultimate French takeaway?

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