Raising the bar with Kem Suraphongchai

Tell us about the origins of ADFEST, and how it has grown and developed since the first edition, in 1998? 

It all started back in 1994, when my father, Vinit Suraphongchai, was invited to be on a jury at Cannes. He came back with the realisation that the general standard in Asia was not high and we were copying too much of the western culture. He strongly felt there was room for something similar, but adapted to and catered for the Asian region, which is so rich in cultural diversity. 

ADFEST started with the objective of raising the level of creativity in the region.

So four years later, ADFEST started with the objective of raising the level of creativity in the region and encouraging local culture. 

Since 1998, ADFEST has grown and developed from three Lotus categories and 180 delegates to 22 Lotus categories and over 1,000 delegates in less than 30 years, reflecting ADFEST’s continuous evolution with the changing times. 

When did you first begin working with ADFEST and what is your take on how the industry has changed and progressed in the Asia Pacific region since you started? 

 To be honest, I never planned on joining ADFEST initially. I didn’t want to be known as the ‘nepo kid’ [Suraphongchai is the daughter of ADFEST Founding Chairman, Vinit Suraphongchai]. But as with all things in life, I drifted into it and before I knew it, my level of involvement grew into a full-time job somewhere along the way. 

Apart from the obvious changes of fragmented media, and the advancement of technology, the change I’d want to highlight is the emergence of pride in local and cultural heritage. We love seeing this coming through more and more. 

Are there particular ADFEST editions that stand out for you – and why? 

That would have to be ADFEST 2023, RISE. There was still so much uncertainty amidst the world coming out of Covid. We knew it did not make any financial sense, but if Covid taught us anything, it was that nothing beats human experience and people longed for a sense of hope, of normalcy. And that’s what we set out to do. We needed it, the industry needed it. 

RISE holds a special place for me. I remember the genuine warmth and hugs that year were really special.

So we wanted to RISE and play our small part in signalling to the industry that, despite all we have faced, it will be okay. Get up, dust off, and move forward one step at a time. RISE holds a special place for me. I remember the genuine warmth and hugs that year were really special. We all really needed that. 

How has the creativity in APAC advertising evolved since ADFEST first started, and what role has the festival helped to play in raising the game across the region? 

We love that creativity in the region has developed its own unique voice and very successfully blended global best practices with local insights and storytelling traditions. We’re proud of the fact that we introduced our flagship Lotus category, the Lotus Roots, since 2010 to highlight how we should all be embracing our local, cultural uniqueness. 

ADFEST has played its part in championing regional creativity, collaboration, and recognition. 

Could you name specific game-changing campaigns and creatives over that time, that illustrate the evolving creativity in the region? 

It’s difficult to definitively name the most game-changing campaigns, as “game-changing” is somewhat subjective, and the bar is raised over time. ADFEST has showcased some of the region’s most innovative and creative campaigns, so I’ll share some that come to mind.  

The Sound of Honda by Dentsu, which recreated the sound of Ayrton Senna’s legendary lap, was definitely groundbreaking for its time for its use of data and technology to create such an emotional project. 

ADFEST has showcased some of the region’s most innovative and creative campaigns.

CJ Worx’s The Unusual Football Field for AP Thailand wasn’t only a creative solution, but  one that also improved the quality of life for the local community. 

And one of my favourite Lotus Roots campaign was The Immunity Charm by McCann Worldgroup India for the Ministry of Public Health, Afghanistan. It was such a beautiful blend of cultural traditions, and addressed the vital issue of vaccinations in such a simple and effective way. 

With the increase in the frequency and severity of natural disasters due to climate change, the game-changing One House to Save Many for Suncorp, by Leo Burnett Sydney, has endless potential to literally change the game to save countless lives. 

How has ADFEST itself evolved and changed over the years, and what future changes or innovations would you like to make? 

ADFEST continues to evolve with the changing media landscape to encompass the full range of creative communications. Our program offering has also expanded to include a wide array of disciplines. 

As ‘advertising’ becomes more ‘branded marketing communications,’ we are seeing more cross collaboration across other industries such as gaming, sports, music etc. We would like to extend to include these industries to enrich the festival with diverse perspectives and creative approaches. 

You emphasised the crucial role of human connection, experience, and emotions in your closing speech at 2024 ADFEST – how do you see those three qualities playing out across the Asia Pacific region and its creative industries? 

Nothing beats the human connection, and I stand by that. I think Malcolm Poynton summed it up best in his keynote at ADFEST; It’s about how things make us feel that is most important. And for me personally, I know that’s the case. 

Nothing beats the human connection.

It’s the things that made me feel that I recall the best. It’s not how tech-savvy it was, or how groundbreaking, but how it made me feel at the time. Those are the things that stick with you. I don’t think that’s a trait unique to APAC though, I believe it’s just a human trait. 

We’re social creatures. We strive on interactions, on support from - and of - each other. So the combination of the human connection, the experience, and how we feel... nothing beats that.