Strategy’s Creative Report Card is back – this time with fresh perspective. We’re diving into the minds of the CRC’s top creatives and strategists to explore how they work within their craft and think about the future of advertising. Over the week, we’ve been spotlighting the Top 5 individuals across the CCO, CD, AD, CW, Designer and Planner lists through bite-sized Q&As that reveal their creative processes, industry predictions and working philosophies, among many other things.
Today we’re looking at this year’s Top 5 Designers. Earlier this week, we shared insights from the Top 5 CCOs, CDs, Planners, ADs and CWs. Visit our CRC website for all the lists and check back on Monday for more.
#1 Designer: Mustaali Raj, Freelance
What campaign(s) landed them on the CRC:
“Ketchup and Seemingly Ranch” and “It Has To Be Heinz” for Kraft Heinz || “KitKat Ramadan Iftar Bar” for Nestle
What skills or mindsets will define the best designers in the next few years?
“Good design showcases the story behind things. We’re seeing designers dive deep into the ‘why’ – what problems are we solving, and for whom? You’ll see the best designers are the ones who can tell a story, explore diverse perspectives, who can connect with people on an emotional level. Being able to learn and adapt, and to always be curious, that’s what’s going to matter most. In a world increasingly shaped by AI and technology, showcasing the human element will be crucial. Sharing the creative journey, the passion that drives the work, and the challenges we overcome will build trust and authenticity with audiences. It’s about making the design process more transparent and engaging, allowing others to connect with real people behind the work.”
What recent work pushed you creatively, strategically and even emotionally?
“I created an illustrated series (image below) inspired by Attar’s ‘Conference of the Birds,’ a poem that explores self-discovery through an allegorical journey. The birds (led by the Hud-Hud), representing human traits, resonated with the themes of introspection. I saw Gaza as a contemporary Hud-Hud, calling for a collective human response. My aim was to translate this metaphor into a visual campaign that addressed social justice. I wanted to avoid overtly activist imagery, focusing instead on leveraging the power of art to create a memorable and impactful campaign. From the outside, it might have looked like an exploration of shapes and pattern, but what really made it work was the deep personal connection I felt to this story. Attar’s poem resonated with me on a spiritual level, and I poured a lot of my own introspection into the artwork. That passion, that personal investment, I think, is what made it truly come alive.”
#2 Designer: Kyle Simpson, VML
What campaign(s) landed them on the CRC:
“Sans Emission” For Volkswagen || “Pride Unravelled” for Egale Canada || “Tomorrow’s Vintage” for Ampersand Estates
What’s a moment this past year where you felt like you levelled up creatively – what sparked it?
“Being a creative is deeply personal. We pour our hearts into every piece of work we create. I used to think my ideas only mattered if they were entirely my own. But over the past year, I’ve come to realize that the best work happens when everyone on the team brings something unique to it. Creative success isn’t about doing it alone – it’s about showing up, being a team player, and helping push everyone’s ideas forward. So, I started asking better questions: What can I contribute today? How can I take initiative? How can I elevate this design, art direction, or idea? Understanding this has allowed me to focus on becoming the best version of myself – rather than the best imitation of someone else. And now, I find more joy in being creative.”
What recent work pushed you creatively, strategically and even emotionally?
“A campaign isn’t always done once it’s launched. Even after clearing every hurdle to get something into market, new deliverables can pop out of nowhere. Not to mention the process of submitting it for awards. That was the case for Volkswagen’s “Sans Émission.” The idea came from Jérôme, a brilliant art director in our Montreal office. It took a lot of time to sell the idea, and even more time to make it. I was brought in to help create the 360 campaign promoting the comedy special. Then, I spent countless evenings and weekends with the team crafting case studies. We had to look at the campaign all over again and ask ourselves: Why does it matter? What makes it stand out? Looking back, I’m struck by the cleverness of the idea. The best work is the kind we wish we had thought of ourselves – and this definitely falls into that category. I’m grateful for being part of the team.”
#4 Designer: Hans Thiessen, Rethink
What campaign(s) landed them on the CRC:
“Branding Awards” for RGD || “Living Stories” for Penguin Books || “Horror Codes” for UberEats || “Concussion Story” for YWCA || “Ramadan Iftar Bar” for KitKat || “Tampon Vs. Tiger” for The Gist || “Fear Windows” for La Maison grise de Montréal
What skills or mindsets will define the best designers in the next few years?
“Within the context of branding, design’s role has always been to make brands distinctive. Iconic. Magnetic. Undeniably them. That may sound overly simplistic, but anyone who tries to convince you otherwise has lost the plot. And while design’s core role hasn’t changed, what has evolved is more and more brands are embracing the opportunity to bring design thinking – and the great designers who do it well – upstream into their businesses. To help them become distinctive in everything they do, not just how they look. We’ve been fortunate to partner with many brands who have embraced this approach. From Kraft Heinz and A&W, to nonprofits and household names in the making. The results speak for themselves. So, what mindset will define the best designers – and brands they work with – of the future? The same one that defines them today: they embrace distinctiveness.”
What recent work pushed you creatively, strategically and even emotionally?
“Two projects jump to mind: the A&W brand refresh and RGD Branding Awards. Both were well-received by the creative community – including wins at Cannes, D&AD, and many others – but, the real reason they stand out is their incredible business impact. For A&W, we transformed their brand from the inside out – including brand strategy, brand identity, and brand experience – helping them reclaim their iconic status and become Canada’s Strongest Brand (Brand Finance Canada 2024). And for RGD Branding Awards, we leaned into a bold and unexpected idea, helping them break through in an extremely crowded category and surpass their projected revenue by over 200%, becoming RGD’s most successful program launch to date.”
#5 Designer: Logan Franklin, VML
What campaign(s) landed them on the CRC:
“Pride Unravelled” for Egale Canada || “Electric Feels Good” and “The Cleaner Car Cover” for Volkswagen || “Tomorrow’s Vintage” for Ampersand Estates
How do you keep your visual instincts sharp, especially when the pace of work keeps accelerating?
No matter how fast-paced my projects get, I try to be a sponge. Sure, that applies to research for project I’m actively working on. But being a sponge also means staying on top of campaigns and design projects from other countries and making time to collaborate and get honest feedback from my teammates. You never know what might spark a new idea. Equally, I love design hunting in my everyday life: like finding a well-designed business magazine, finding the latest font foundry, visiting boutique furniture stores, or having coffee in unique new café spaces. I also have an Instagram account dedicated to finding well-designed indie Canadian brands.
What recent work pushed you creatively, strategically and even emotionally?
“‘Pride Unravelled’ for Egale Canada. At the centre of this campaign was a pride flag with 6,423 missing threads – one thread for each incident of anti-LGBTQ+ hate we uncovered. Behind the scenes, it took an immensely dedicated team that all wanted to make a difference. It’s probably one of the hardest projects I’ve worked on, as both an art director and designer. First, we had to find a strategy to mine the data, which wasn’t readily available. Then we had to catalogue the hate. Imagine reading thousands of threatening social posts, dehumanizing emails, and reports of violence. That was tough emotionally. Then, it took us weeks to remove 6,423 individual threads by hand. Only after all that, did we start the design work. But it was worth it. The campaign was hugely successful and has been recognized around the world.”
