May, 2026.- In the dynamic 2026 advertising ecosystem, creativity can no longer be measured solely by traditional Western standards. Gilvana Viana, Co-Founder and CEO of Casablack, takes on the Presidency of the D&AD Awards jury with a clear mission: to break the industry’s comfort zone. For Viana, occupying this position as a Brazilian woman and a Black creative is not just a professional honor, but an act of strategic representation that seeks to pave the way for historically marginalized voices. Her vision proposes a creativity that does not surrender to metrics or pre-established formats, but instead draws from local authenticity to generate connections that transcend borders. Under her leadership, the jury becomes a space for active listening where creative value is judged by its ability to move culture forward and by the depth of the stories it manages to tell.
In this exclusive interview with Roastbrief, Gilvana Viana breaks down how award-winning projects, such as the “Handshake Hunt” Grand Prix for Mercado Libre, prove that respect for local context is the key to international recognition. Viana reflects on the responsibility of global festivals like D&AD to act as catalysts for structural change, promoting corporate inclusion policies that go beyond aesthetics. Discover why in 2026 the question is not whether creativity is dead, but how we can imbue it with a human and social relevance that challenges Eurocentric biases. It is a lesson on how uniqueness and intention are the only tools capable of stopping a jury room and defining what truly constitutes excellence in the modern era.
1. Chairing the D&AD Jury: You’ve been appointed to chair the D&AD Awards 2026 jury. What does this role mean to you personally and professionally, and how does it feel to be one of the few Brazilian women leading the conversation on global creative excellence?
It is always an honour to receive this kind of recognition and to be invited to sit on a jury such as the D&AD Festival. Judging other people’s work is a position of great responsibility, because you are, in a way, helping to define what constitutes excellence within the industry. At the same time, it is a very rewarding opportunity for exchange. You connect with people from all over the world, understand what is being done in different contexts and broaden your own creative repertoire.
This year in particular, it makes even more sense to me, because the theme revolves around stepping out of one’s comfort zone. And occupying this position is, in itself, a constant exercise in shifting one’s perspective. You need to re-evaluate your points of reference, listen to other viewpoints and allow yourself to change your mind.
As for being one of the few Brazilian women in this field, I see it as a great responsibility. I know I don’t represent an entire country, but I carry with me everything that has shaped me so far, particularly the influences of Brazilian women, especially Black creatives who possess a strength and a repertoire all of their own. Being there is also about that. It’s about paving the way, even if only little by little, and hoping that, in the near future, we’ll see more and more women occupying these spaces.
2. Decentralizing Creativity Beyond Western Standards: D&AD has been making efforts to highlight work from more diverse markets. As jury chair, how do you plan to ensure that creative value is assessed through a truly global lens, not just through traditional Western-centric standards of what “good” creativity looks like?
I believe that this perspective is linked to the background that each jury member brings with them. As chair, the most important thing for me is to ensure a space for genuine listening, where everyone feels comfortable sharing their perspectives and where these differences are genuinely incorporated into the discussion.
At the same time, this cannot be passive. We cannot simply wait for difference to emerge. There is an active process of seeking it out, of broadening our horizons, of really challenging ourselves. And also of recognising that we do indeed carry, often Eurocentric, biases about what is considered ‘good creativity’ and being willing to question this constantly.
It’s very much about conducting this process with an open mind. Creating an environment where these perspectives can meet, challenge one another and broaden our collective outlook, valuing what falls outside the norm and understanding that this is precisely where a more global perspective on creativity lies.
3. Local Culture as Creative Center: You’ve advocated for placing local culture at the center of creativity—arguing that this benefits brands, artists, and the entire industry. Can you share an example from your work where a deep embrace of local culture produced creative work that traveled globally or won international recognition?
A good example is the “Handshake Hunt” campaign by Mercado Livre, developed by the agency GUT, with music and sound created by my agency, MugShot. It’s a Latin American campaign, which is hugely complex, and won the Grand Prix, three Silver Lions and a Bronze Lion at Cannes Lions 2024. It’s a Latin American campaign.
From the outside, many still view Latin America as if it were a single, homogeneous entity. But it isn’t. There is a vast cultural diversity between the countries. So the main challenge was precisely this: to gain a deep understanding of the local context in each place and, from there, to build a campaign that found a sense of unity without erasing these differences.
It was a very intense exercise in listening and research throughout the creative process. It involved trying to find what connects us, but without forcing a single idea of what it means to be Latin American. In the end, I think that’s precisely where international recognition comes from: when the work truly respects the local context and, at the same time, manages to create a connection that transcends borders.
4. Black Representation in the Music Industry: You’ve taken a strategic leadership role to increase Black representation in the music industry through campaigns for major brands. How does this advocacy inform your creative leadership, and what responsibility do global award shows like D&AD have in championing underrepresented voices?
I often say that representation in the media and advertising does matter, but my concern goes further than that. For me, the key lies in affirmative public and corporate policies that genuinely change the structure of the market.
Not just for people black, but also for Indigenous people, LGBTQIA+ people and for gender equality. Because, ultimately, there’s no point in simply appearing more in communications if that doesn’t translate into access, opportunity and retention.
This has a direct influence on my creative leadership. I try to look beyond the idea itself and consider the real impact it has, both within and outside organisations. We are living through a delicate time globally, with rights being eroded in various contexts, so this discussion takes on even greater significance. There is a constant effort to avoid falling into superficiality, where representation becomes merely aesthetic or rhetorical.
And when we talk about global awards such as D&AD, they bear a huge responsibility in this regard. Because what is awarded becomes a benchmark, a standard of quality. So, when these festivals help to select, through the global jury, to consistently value under-represented voices and narratives, they can drive the market towards more profound changes. But this only really works when there is consistency between what is celebrated and what is practised within the industry.
5. What to Expect from D&AD 2026: As jury chair, what themes, trends, or shifts in creativity are you most hoping to see reflected in this year’s entries? What would signal to you that the industry is moving in the right direction?
Can we expect an answer to a question the creative industry has been asking itself for a long time: is creativity dead?
I envisage a shift in perspective, where creativity is no longer measured solely by metrics, formats or trends, but is once again understood in terms of its cultural impact and the stories it manages to tell.
For me, context and cultural impact will be essential. Whether a work is global or regional, we need to consider how it has actually impacted the audience for which it was created.
I also hope to see works that push boundaries. Musical entertainment has always been at the forefront of cultural transformation, so I’ll be paying attention to works that truly move culture forward.
And, of course, uniqueness. We want to celebrate truly unique work that demonstrates originality and a clear understanding of what has gone before. More than anything, I think there is a growing pressure for relevance. Ideas that not only grab attention, but that have substance, context and a genuine connection with people.
6. Behind the Scenes of the Jury Room: Many creatives are curious about how juries actually deliberate. Can you share any insights into the jury process at D&AD? What makes a piece of work stop a room, generate debate, and ultimately earn top honors?
The process is not straightforward. It involves hours and hours spent watching work from all over the world, created by people with completely different cultural and creative backgrounds. There are traditional formats, others that are completely off the beaten track, short pieces, long pieces, and proposals that are very different from one another. It is an intense and exhausting process. But, at the same time, it is extremely rewarding.
Because you come into contact with ideas and approaches you might never have seen before. This broadens your repertoire, sharpens your creative eye and raises a very powerful question about what creativity is today.
A piece of work that catches the eye of a jury team is not just one that is technically well executed. It is one that generates debate, emotion or surprise. An idea that challenges expectations, presents a new perspective or captures something culturally relevant in a truly unique way.
That is what makes the process so valuable: being a judge takes us out of our comfort zone and routine all the time, because the challenges are numerous and constant.
