From Keira and Joe to dolls and dinosaurs: Who won Christmas?
Algy Sharman, Chief Creative Officer of Joint London scours the big brand’s 2025 festive spots looking for festive feels, freshness and good use of holid-AI.
It’s estimated that this year, brands will have spent £12 billion on Christmas ads.
Which is a little crazy. Will they really see a return on that insane number? Well, it’s safe to say if everyone’s competing at the same time and spending big money, the requirement to truly stand out has never been so important. So, which festive ads have won the attention race, and which have fallen into the sea of sameness?
Let’s start with Waitrose’s Christmas cracker, which many people feel has won this year. It is feel-good, funny, festive and populist. The Joe Wilkinson and Keira Knightley combo is charming and unexpected. If I had a complaint it would be the length. Yes, you want to build the story but I did start to glance at the clock. Nonetheless it’s a small gripe about an otherwise lovely film.
I wouldn’t be over the moon if this straight jacket of a brief landed on my desk.
Next up, the Waitrose partner in crime, John Lewis. Waitrose might have won, but it doesn't take away from the fact this is still a very good Christmas ad. It’s a great story with a nice idea at its heart. ‘If you can’t find the words, find the gift’ is a simple thought with a clear benefit.
So I applaud that. I also think it’s nice they aren’t shoving Christmas stuff down your throat. It’s in there but not to the point of overflowing. It is well directed and the performances of the son and the dad are good.
Credits
View on- Agency Wonderhood Studios/London
- Production Company Biscuit Filmworks/UK
- Director Molly Manners
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Credits
View on- Agency Wonderhood Studios/London
- Production Company Biscuit Filmworks/UK
- Director Molly Manners
- Editing Shift Post
- Post Production Time Based Arts
- Audio Post Runamok Studios
- Music Supervision Native Music Supervision & Production
- Brand
- Chief Customer Officer Nathan Ansell
- Chief Creative Officer/Founder Aidan McClure
- Executive Creative Director Stacey Bird
- Executive Creative Director Jack Croft
- Senior Creative/Writer Jennifer Ashton
- Senior Creative/Writer Oliver Short
- Creative Holly Nash
- Creative Alysha Radia
- Lead Senior Producer Nikki Holbrow
- Senior Producer Alice Konstam
- Senior Producer Henry Davies
- Producer Stefanie Forbes
- Founding Partner Shawn Lacy
- Managing Director Rupert Reynolds-MacLean
- Executive Producer Hanna Bayatti
- Head of Production Emily Atterton
- Production Manager Ada Almeida
- Production Designer Fiona Crombie
- Producer Peter Knowles
- DP Benedict Spence
- Editor Saam Hodivala
- Editor Joanna Lewandowska
- Editor Rob McGuire
- Executive Producer Kirsty Oldfield
- VFX Artist Sheldon Gardner
- VFX Artist Miguel Wratten
- Senior VFX Producer Matthew Squires
- VFX Producer Mia Saunders
- Colorist Simone Grattarola
- Sound Designer Jon Clarke
- Executive Producer Lucy Spong
- Executive Producer Ornela Peka
- Talent Keira Knightley
- Talent Joe Wilkinson / (Talent)
Explore full credits, grab hi-res stills and more on shots Vault
Credits
powered by- Agency Wonderhood Studios/London
- Production Company Biscuit Filmworks/UK
- Director Molly Manners
- Editing Shift Post
- Post Production Time Based Arts
- Audio Post Runamok Studios
- Music Supervision Native Music Supervision & Production
- Brand
- Chief Customer Officer Nathan Ansell
- Chief Creative Officer/Founder Aidan McClure
- Executive Creative Director Stacey Bird
- Executive Creative Director Jack Croft
- Senior Creative/Writer Jennifer Ashton
- Senior Creative/Writer Oliver Short
- Creative Holly Nash
- Creative Alysha Radia
- Lead Senior Producer Nikki Holbrow
- Senior Producer Alice Konstam
- Senior Producer Henry Davies
- Producer Stefanie Forbes
- Founding Partner Shawn Lacy
- Managing Director Rupert Reynolds-MacLean
- Executive Producer Hanna Bayatti
- Head of Production Emily Atterton
- Production Manager Ada Almeida
- Production Designer Fiona Crombie
- Producer Peter Knowles
- DP Benedict Spence
- Editor Saam Hodivala
- Editor Joanna Lewandowska
- Editor Rob McGuire
- Executive Producer Kirsty Oldfield
- VFX Artist Sheldon Gardner
- VFX Artist Miguel Wratten
- Senior VFX Producer Matthew Squires
- VFX Producer Mia Saunders
- Colorist Simone Grattarola
- Sound Designer Jon Clarke
- Executive Producer Lucy Spong
- Executive Producer Ornela Peka
- Talent Keira Knightley
- Talent Joe Wilkinson / (Talent)
Next up Coca Cola. Holid-AIs are coming. It's an impressive use of AI, but that really only concerns the advertising and production community. No punter out there cares if it was done in AI or not. I’m sure of that. So AI aside, is it any good?
Well, I’m told by System 1, , the advertising testing and effectiveness rating system, that the annual Coca Cola ad builds on all the positive memory structures from years before. So it does a good job at branding. But where’s the persuasion? How is it making me think of Coca Cola differently in any way?
Building on average just leads to more average at best.
The distinctive brand asset of the red trucks basically says, “Think Christmas. Think Coca Cola.” Maybe that’s enough, but it’s not hugely inspiring either. I wouldn’t be over the moon if this straight jacket of a brief landed on my desk. “Just do what we always do guys. Trucks. Music. Same thing. OK?”
Next up, I’m going to cover two campaigns in one. They fit into the “I didn’t really care about the characters last time, so why should I care now” category. M&S Dawn French and the fairy, and the Argos doll and dinosaur. Were we blown away the last time they used these protagonists? No.
So, is there really any need to do them again? I don’t think anyone is wondering “Ooh I can’t wait to see what M&S and Argos with those characters again.” Building on average just leads to more average at best.
Credits
View on- Agency Saatchi & Saatchi/London
- Production Company Iconoclast UK
- Director Jonathan Alric
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Unlock full credits and more with a shots membership
Credits
View on- Agency Saatchi & Saatchi/London
- Production Company Iconoclast UK
- Director Jonathan Alric
- Editing Trim
- Post Production Selected Works
- Post Production (Supplier Funded) Harbor Picture Company/UK
- Color Company 3/London
- Sound 750mph
- Music Wake The Town
- Chief Creative Officer Franki Goodwin
- Executive Creative Director William John
- Creative Director Brodie King
- Associate Creative Director Pete Ioulianou
- Associate Creative Director Ollie Agius
- Group Creative Director Caroline Paris
- Creative Paddy Fraser
- Creative Brodie King
- Creative Issie Peach
- Creative William Blackburn
- Executive Production Director Sam Robinson
- Executive Producer Rose Reynolds
- Senior Integrated Producer Rose Reynolds
- Integrated Producer Izzy Woods
- Executive Producer/Managing Director Guy Rolfe
- Executive Producer/Managing Director Jean Mougin
- Head of Production Beatrice Warren
- Executive Producer Jane Lloyd
- Production Manager Lucy Banks
- Production Manager Tabetha Glass-Jackman
- Production Coordinator Rob Rogan
- 1st Assistant Director Ben Gill
- Production Designer Robin Brown
- DP Shabier Kirchner
- Editor Tom Lindsay
- Executive Producer Noreen Khan
- Producer Polly Kemp
- Supplier Funded Editor James Forbes-Robertson
- Supplier Funded Assistant Editor Magdalena Plugowska
- Executive Producer Alex Fitzgerald
- Head of Production Dan Crozier
- Creative Director Greg Spencer
- 2D Artist Hani AlYousif
- Color Producer Chris Anthony
- Executive Producer Ellora Soret
- Colorist Matthieu Toullet
- Head of Production Olivia Ray
- Sound Engineer Sam Ashwell
- Sound Engineer Jake Ashwell
- Producer Aishah Amodu
- Music Supervisor Sarah Maerz
Explore full credits, grab hi-res stills and more on shots Vault
Credits
powered by- Agency Saatchi & Saatchi/London
- Production Company Iconoclast UK
- Director Jonathan Alric
- Editing Trim
- Post Production Selected Works
- Post Production (Supplier Funded) Harbor Picture Company/UK
- Color Company 3/London
- Sound 750mph
- Music Wake The Town
- Chief Creative Officer Franki Goodwin
- Executive Creative Director William John
- Creative Director Brodie King
- Associate Creative Director Pete Ioulianou
- Associate Creative Director Ollie Agius
- Group Creative Director Caroline Paris
- Creative Paddy Fraser
- Creative Brodie King
- Creative Issie Peach
- Creative William Blackburn
- Executive Production Director Sam Robinson
- Executive Producer Rose Reynolds
- Senior Integrated Producer Rose Reynolds
- Integrated Producer Izzy Woods
- Executive Producer/Managing Director Guy Rolfe
- Executive Producer/Managing Director Jean Mougin
- Head of Production Beatrice Warren
- Executive Producer Jane Lloyd
- Production Manager Lucy Banks
- Production Manager Tabetha Glass-Jackman
- Production Coordinator Rob Rogan
- 1st Assistant Director Ben Gill
- Production Designer Robin Brown
- DP Shabier Kirchner
- Editor Tom Lindsay
- Executive Producer Noreen Khan
- Producer Polly Kemp
- Supplier Funded Editor James Forbes-Robertson
- Supplier Funded Assistant Editor Magdalena Plugowska
- Executive Producer Alex Fitzgerald
- Head of Production Dan Crozier
- Creative Director Greg Spencer
- 2D Artist Hani AlYousif
- Color Producer Chris Anthony
- Executive Producer Ellora Soret
- Colorist Matthieu Toullet
- Head of Production Olivia Ray
- Sound Engineer Sam Ashwell
- Sound Engineer Jake Ashwell
- Producer Aishah Amodu
- Music Supervisor Sarah Maerz
ASDA and the Grinch next. Couldn’t possibly imagine how they arrived at this concept. “Wait. I have it! ASDA is green….the Grinch is green! Lunch?” It’s an obvious idea and the story didn’t grab me either. Also since when did the Grinch have an English accent?
I’m left feeling cold and they lack the festive feel I think you need from a Christmas ad.
Well, at least Tesco is trying something different this year. Mini stories around recognisable Christmas behaviours. They are funny and true. The performances seem real and it’s well directed. So full marks for going at the brief in a different way.
The only problem I have is, are they just a bit too real? I’m left feeling cold and they lack the festive feel I think you need from a Christmas ad. That’s not to say you need Christmas trees and tinsel and mince pies everywhere, but I do think you need to come out feeling warm and excited by the magic of Christmas.
Credits
View on- Production Company Aardman
Explore full credits, grab hi-res stills and more on shots Vault
Credits
powered by- Production Company Aardman
BBH and Tesco did such an amazing job with the Becoming more Christmas campaign launched in 2023, they have set the bar high. And these fall foul of that high standard I’m afraid. But, if you don’t try something different you’ll never know. That would be my advice to M&S and Argos anyway.
The craft of the animation is, as per usual, an excellent tour de force from the Aardman team.
Last up, we have Barbour and Wallace and Gromit. I thought this was charming, funny and by far the best use of borrowed interest this year. The team behind this didn’t just rely on the IP though. They actually wrote a funny script, with the Wallace and Gromit tone of voice firmly in the back of their minds.
Kids will laugh, adults will laugh. The craft of the animation is, as per usual, an excellent tour de force from the Aardman team once again.
So, who in my opinion wins the attention battle this year?
Well, who am I to disagree with everyone else…It has to be Waitrose. But with strong runners up in John Lewis and Barbour. Plus there's a lesson to be learned for a few other brands out there. If you want your investment to stand out when others are spending millions too, it pays to do something fresh.