#finaljury

before a single frame is shot, a single headline is written, a single second of audio is recorded — someone has to know what great looks like.

MAD STARS 2026 has confirmed 43 final jurors across five panels — and we're introducing them all. first up: the Traditional jury, the people who live and breathe Film, Outdoor, Print, and Radio & Audio.

Traditional covers work created for established media channels, highlighting the craft, storytelling, and creative execution that form the foundation of advertising communication. these are the disciplines where every word, every frame, every second of silence counts.

⭐ Executive Jury

Sandipan Bhattacharyya | chief creative officer, Monks

24 years in the industry — and he still thinks the best work hasn't been made yet.

over two decades shaping creative vision across Saatchi & Saatchi, BBDO, and GREY before joining Monks India as CCO. 120+ international award wins including Cannes Lions, D&AD, One Show, Clio, and Spikes Grand Prix. led india's first Entertainment Lion and first D&AD Yellow Pencil — his campaigns for P&G Gillette, 'Barbershop Girls' and 'Man Enough', earned over 110 million views globally. under his leadership, GREY was ranked the #2 creative agency in India by Campaign Brief Asia and among the top 4 by the Cannes Global Creativity Report.

he’s the kind of executive jury member who sees straight through the noise.

🔹 Final Jury

Kanit Mingmuang | executive creative director, Wolf BKK from a final-year student to a Grand Prix winner. some people just move faster. 18+ years in advertising, starting at TBWA\Thailand in his final year of college. Grand Prix at Spikes Asia 2021 and Grande at ADFEST 2021 for 'Shop Unfriend' with Central Department Store — one of the most recognized Thai campaigns in recent years. jury member at The One Show Asia 2022.

Mukund Olety | chief creative officer, VML 100+ global awards. the brands everyone knows. and still one of the industry's most committed champions of emerging talent. currently leading creative for The Coca-Cola Company across Europe as part of WPP's core team. ranked among the top 100 CCOs in the world. has shaped creative for Nike, Mercedes, McDonald's, Samsung, and Volkswagen across two decades and multiple markets. a committed champion of emerging creative talent.

Noël Bunting | chief creative officer, Publicis London named one of the most creative people in advertising in New York — then went to London and proved it. Grand Prix Lion for the Oreo Daily Twist. led Neverland to become Campaign's Start-up of the Year 2022. joined Publicis London in 2024; within one year, the agency became the 6th most winning in the UK for new business and the most female-led agency in London.

Paulo Mariano | senior art director, O Escritório 20 years of craft across two continents — and the work to show for it. based in Lisbon at one of Portugal's most awarded independent agencies. collaborated with DDB and TBWA on projects for Netflix, Emirates, Lidl, and Gatorade. recognized by ADCE, Effie, CCP, and Lürzer's Archive; most recently featured in the 200 Best Digital Artists Worldwide 2025 edition. jury member at New York Festivals and FIAP.

Rick Kwan | executive creative director, Grey Hong Kong a proud Canadian who found his creative home in Hong Kong — and the global stage found him back. consistent recognition across the world's top creative and effectiveness stages — Best in Show at The One Show, Effies APAC, Effies Greater China, Spikes Asia, New York Festivals, and Kam Fan. most recently, 2 shortlists at Cannes Lions 2025.

Rory McKechnie | executive creative director, McCann New Zealand 20+ Cannes Lions. 100+ awards. and somehow still finds time to teach. formerly DDB NZ and Droga5 New York. one of the first Creative Effectiveness Lions ever awarded. grand and gold Effies at regional and local level. headed Auckland's AWARD advertising school for several years — setting curriculum, tutoring students, and organizing internships.

Shumpei Murata | executive creative director, Dentsu Inc. an asia–global perspective on film — built between tokyo and melbourne. japan-based creative director specializing in film-led advertising. experience across Japan and Australia at BWM Dentsu Melbourne. brings a cross-cultural lens to storytelling, craft, and emotionally driven ideas that resonate across borders.

Sunghyuk Hong | executive creative director, Innocean he finds the story in the everyday — and makes you feel like it's yours. a storyteller and observer of everyday life whose work has earned wide empathy in the automotive sector. currently leading heritage projects for iconic global corporations, redefining what it means to be a long-term creative partner. believes warmth and humanity are at the heart of great advertising.

in Film, Outdoor, Print, and Radio & Audio — the craft is everything. these nine know it better than anyone.

After critics in the pre jury, i decided to continue with the same basic ideas and introduce new rules and ideas to give my design higher complexity and a greater overall order. While the assignment was the same, the only difference was the use of black cardboard instead of the corrugated one. I started designing my final model of the semester by re organizing the development and making slight changes in it. my initial design ideas was to use 10cm lengths in my development which would give nice foldd and allowing me to obtain a better rhythm among the cardboard surfaces. I finished the designing process of the development obtaining 3 axes. My idea was that when i fold the  development these 3 axis will come in the third dimension intersecting at the center of my design. This was a really helpful technique to give complexity and orders to my design while not allowing it to be symmetrical. The three parts of the developments with the axis called x y and z respectively were arranged as shown above. My design consisted gradation which helped to achieve overall rhythm in the design itself. I was able to achieve gradation my the idea of twist! The placement and shapes of my wire mesh surfaces came directly from the development itself. They were always used in isosceles triangles throughout the design.