Today, festivals have become powerful and influential brands in their own right. Events such as the Oscars, Cannes, Met Gala, and many others are not only recognized as significant artistic and cultural occasions, but they have also evolved into a form of modern branding known as “event branding.” This type of branding has achieved remarkable success — these festivals, by generating international fame and widespread attention, not only yield substantial revenue but also bring about cultural, social, and political benefits. When a festival or event reaches this level of success and influence, it can be considered a brand in itself. Branding in this context means creating an independent and recognizable identity — one that attendees and audiences not only want to be part of, but also regard as a cultural, scientific, and artistic symbol and reference. In this way, event branding can have a significant impact on the economy, industry, and culture.
In general, these festivals have multiple stakeholders. The most important stakeholder is usually the company organizing the event. Typically, this company gains various financial and non-financial benefits from hosting the festival. The second group of stakeholders includes the locations where the festivals are held. For example, the Cannes Film Festival takes place in the city of Cannes — a small city in southern France — and both the city and, by extension, France benefit greatly from hosting this festival.
Another example within Iran is the Isfahan International Festival of Films for Children and Youth, which brings numerous financial and non-financial advantages to the city of Isfahan every year. It should also be noted that any festival or event creates special conditions for its host location, including increasing the city’s and country’s visibility, generating economic activity, and attracting tourists.
The primary group that benefits from these festivals is the initial participants and audiences. For instance, in the Cannes Lions International Festival of Creativity, all advertising agencies, creative teams, and freelance creatives representing innovative brands benefit from participating. They gain by competing, benchmarking, and networking — ultimately contributing to the growth of their businesses, their professional capabilities, and the creative industry as a whole.
Other beneficiary groups include secondary audiences — those not directly involved in the festival itself but who still gain various benefits from its occurrence. Take the city of Annecy in France, for example. In Annecy, beyond the direct stakeholders, the municipality, restaurant workers, service providers, and even small local newspapers and magazines benefit from the Annecy Animation Festival. The city’s entire administrative and economic foundation is essentially built around the festivals held throughout the year, from skiing and animation to food-related events.
Ultimately, these festivals and events serve as catalysts for growth and motivation within the industries they represent, as well as for the content showcased in each event. For example, the Oscars stimulate competition among filmmakers, and the Cannes Lions festival significantly impacts the production quality and creative output of advertising agencies. This is what keeps these festivals alive and influential — driving both financial gains and professional development through stronger networks and collaborations.
Given the significance of this subject, this issue of the quarterly magazine is dedicated exclusively to various events and festivals in the advertising, branding, and marketing industries. We hope that reading this edition provides industry professionals in communications, marketing, and advertising with deeper insight into these specialized events — paving the way for global competition and participation in impactful international festivals. After all, Iran holds immense potential in terms of talent, drive, and capability — and these festivals can help cultivate and showcase that to the world.
Hassan (Babak) Badkoobeh