It has been a stellar year for Gorgeous Enterprises, one that many production company heads would likely sell their soul for. They've won the 2002 Cannes Palme D'Or for most outstanding production company along with countless other awards, and director/co-owner Frank Budgen essentially ran away with the top director spot on our Best of Year list.

Yet the vibe caught from the seven-year-old London shop is low-key and down-to-earth. Founder/director/co-owner Chris Palmer seems almost unaware of the buzz surrounding his company, and managing director/co-owner Paul Rothwell says the first thing he thought upon returning from the sunny, libidinous south coast of France was: "What's our next script?"

Despite the humility, the past year has been gorgeous. So is there a secret to their success? Palmer casually replies: Frank Budgen. "We've had success with awards because of Frank. If he were with anyone else, they would do this well. Everything he touches turns to gold."

However, when looking at the caliber of work from the shop's five directors - Budgen, Palmer, Tom Carty, Peter Thwaites and Ben Seresin - one can't overlook Gorgeous' approach to the business of commercial production as a significant part of the equation.

"We're not financially driven, we're creative driven," says Rothwell. "That entails saying no to a lot of jobs. The worst thing would be one of our directors to be unavailable to do a good job because he's working on just an okay one."

This passion for quality is evident in this year's winning work. Budgen's Nike "Tag" from Wieden + Kennedy, Portland, which took the Cannes Grand Prix, is a pitch-perfect combination of direction, idea, composition, editing and music. The other two spots in the Nike Play campaign, "Shade Running" and "Tailgating", follow
that lead.

Budgen's "Twist" for Levi's from BBH, London, also made a fair showing. Although this spot received awards in the previous year, the timing of the awards season made it eligible for other shows, like the D&AD where it received a
rare Gold.

Reebok "Sofa" from Lowe, London,was also responsible for putting more trophies on Budgen's and Gorgeous' shelf, as was the affecting PSA "Cartoon" for the NSPCC.

Carty added to the accolades by pulling in Bronze Cannes honors for "Tailgating", as well as AICP, Andy, One Show and Kinsale awards for that spot.

Palmer received a Silver at the One Show for a Heineken spot, and the Creative Circle Awards honored both Palmer and Thwaites (though those results did not figure into our Best of Year tally).

While these Gorgeous guys are nonchalant about their success, they do agree that awards matter to the creative community.

"This is a creative-driven industry and awards are the most obvious reflection of creative ability," says Rothwell.

Budgen says he doesn't put much credence in awards, but enjoys winning. "If the industry likes what you do, it's good to know. Awards are good for the industry - it raises the stakes of advertising."

"It's better to win than not to win," adds the ever demure Palmer.

Though most awards recognize creative efforts, Rothwell wishes there was some focus on results. "I would love to see more emphasis on marketplace success. We don't often hear about that from our agencies. It would be great to know how the ads are actually doing," he says.

However, that's not to say that creative awards don't mean anything: "The general belief is that great creative results in great advertising," Rothwell says. "Therefore, by striving to do the best creative, you're doing spots that will work in the marketplace. Creative awards reflect that belief."

But the ethic that creates top-notch work rarely wanes in the Gorgeous world. Even the splendor of gold doesn't cloud the road ahead. Says Rothwell: "It's funny with award shows; we have them and then the slate's clean. But then we think 'Where's the next work coming from?', so that we can do it again."

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