While it could be argued that the festive season really starts the second the embers burn out on the bonfire these days, we’re finally in December so it feels about time to celebrate the best Christmas ads of the year.
I’ve been busy watching and re-watching this year’s best over the last few days though and I still struggle to put my finger on what really make a great Christmas ad. Nostalgia obviously plays a part but it’s something more than that. Great Christmas ads are able to lean into all the glitz and cheese of the season without feeling forced. They are stories that could only ever exist with a festive coat.
In 2025 the holiday ads lean on comfort and humour, reflecting a national mood of reconnection after perhaps the toughest half-decade in recent memory. Creative minds have unleashed sequels, beloved characters and clever storytelling – and as Creativepool’s editor, I’m here to round up the very best Christmas campaigns so far.
Along the way we’ll hear from several creative leaders about what makes these ads work. So, join me on a lighthearted but insightful tour through the ads that are getting the country talking this year.
John Lewis – “Where Love Lives”
We begin with the ad everyone’s talking about: John Lewis’s annual Christmas tale. In 2025, Saatchi & Saatchi flips its usual CGI spectacle for an intimate, music-driven story. Directed by Jonathan Alric (of The Blaze), “Where Love Lives” follows a father who struggles to say it all with words. His teenage son gives him a vinyl of the 90s dance classic “Where Love Lives” by Alison Limerick, and as the needle drops, the room dissolves into strobe-lit memories. The scene takes the dad from being a carefree young clubber, to seeing his son’s first steps and his newborn baby. It’s a simple idea executed with cinematic warmth: “The gift itself” becomes the channel for the feelings he can’t express.
Saatchi’s CCO Franki Goodwin explains: “Music is always the beating heart of the John Lewis campaign at Christmas but this year it’s the gift itself. The campaign poignantly explores the power of a gift to communicate something we might not be able to put into words… I hope it inspires lots of thoughtful, expressive gifting”. In short, it’s all heart. The tagline – “If you can’t find the words, find the gift.” – sums it up beautifully.
Sainsbury’s – BFG & the Greedy Giant
Another big festive fantasy comes from Sainsbury’s, reuniting audiences with one of Roald Dahl’s most beloved characters. After last year’s hit, this BFG (Big Friendly Giant) returns to help save Christmas food for everyone. Created by New Commercial Arts (NCA) and directed by Rogue Films, the 60-second spot plays like a warm-hearted adventure film. In it, friendly giant BFG teams up with an employee, Annie, when a new “Greedy Giant” swallows an entire family’s Christmas feast in a single bite. Hijinks ensue as BFG and Annie race through town (soundtracked by playful quotes like “tastier than human beans!”) to replenish turkeys, gammon, and pigs in blankets just in time for dinner.
The tone is light and nostalgic. Sainsbury’s marketing director Radha Davies says they “wanted to capture a spirit of heartwarming nostalgia, with the energy of a great Christmas tale”. Ian Heartfield, Founder & CCO at NCA, calls it “all the ingredients of a classic Christmas caper movie, whilst adding lashings of mouth-watering Sainsbury’s Christmas grub”. The ad “shows the BFG teaming up with Sainsbury’s to help defeat the giant and save the nation’s Christmas dinners,” says Heartfield.
At one level it’s pure fun, but it also underscores the brand promise: Sainsbury’s will help you be ready for anything at Christmas (the line that closes the spot). David Born, CEO of Born Licensing (who manages the Dahl partnership), sums it up: “this collaboration shows just how magical advertising can be when world-class creative meets timeless storytelling”. In other words, Sainsbury’s has turned a festive food ad into a mini-movie.
Tesco – “That’s What Makes It Christmas”
Tesco took a bold new direction this year. Instead of one sweeping story, BBH London (with director Jeff Low) rolled out six short films under the umbrella “That’s What Makes It Christmas.” Each vignette captures the funny, messy moments that are Christmas (the awkward game-night fallout, the overstuffed fridge that nobody can touch, and more). In one scene a colleague frets about buying secret Santa presents; in another a family competitively battles over a board game. Narrated by comedian John Bishop and backed by the jaunty “Holly Jolly Christmas” tune, these spots lean into real-life chaos rather than fairy-tale magic.
In effect, Tesco reframes Christmas as “perfectly imperfect”. “Christmas isn’t made by those picture-perfect, frameable moments,” says BBH’s ECD Felipe Serradourada Guimarães. “It’s during the messy, weird and unscripted chaos where the Christmas spirit really kicks in”. Tesco’s Customer Director Becky Brock echoes this: “Christmas isn’t just about the picture-perfect moments, it’s about everything perfectly imperfect that happens around them too—that’s where the real magic is.” (She’s right – this campaign feels like a warm laugh at all the things that could go wrong.)
This creative gamble seems to be paying off. Rather than trying to yank tears from viewers, Tesco treats Christmas like real life – full of banter and minor disasters. The result is funny, relatable, and refreshingly inclusive. And yes, for the first time the vibe extends into store: Tesco even launched themed greeting cards and cheeky jumpers (answers to those awkward family questions!) to underline the concept.
Boots – “Gift Happily Ever After”
Boots usually leads with fairy-tale magic, and this year it didn’t disappoint. Its 2025 campaign, “Gift Happily Ever After,” features Puss in Boots (yes, the cunning cat from the Shrek films) on a quest to find perfect gifts. Created by The Pharm (VML London), the spot opens in a snowy Boots store where Puss, assisted by Boots staff, scurries from section to section finding presents for his fairytale friends. From the Snow Queen to Cinderella’s ghost, each gift is cleverly matched to a storybook character’s needs. All to the sounds of Duran Duran’s “Girls on Film” – a cheeky, 80s-tinged choice that keeps the whole thing light and fun.
Boots Marketing Director Laura Gooday says the goal was to put “meaningful gifting at the centre of the story.” The campaign “celebrates the thought and care that goes into choosing gifts that truly matter,” she explains. In practical terms, it’s brilliant: with one cute animation Boots shows off its entire gift range (especially beauty) and reminds customers it’s the “go-to destination for thoughtful presents”.
The furry hero, voiced with a lively West Country accent, strikes a nice balance of innocence and mischief – creative director Juliana Paracencio describes him as “full of character and musicality, yet rich with personality and heart”. The animation is top-notch too: CGI aside, the team even modeled the cat on real cats for authenticity. Overall, it’s a clever blend of storybook fun and retail strategy.
Marks & Spencer – A Two-Pronged Festive Plan
Marks & Spencer took a different tack this year, splitting its Christmas creative. For food, it went big: the “Driving Home” ad (by adam&eveDDB) stars Dawn French as a commuter stuck in terrible traffic on Christmas Eve, belting out Chris Rea’s “Driving Home for Christmas.” Suddenly a fairy-tale alter-ego pops up, transforming her jam into a mobile M&S food truck and turning the jam-packed highway into an impromptu street party. It’s simple and effective: a single song and set-piece that sells the abundance of M&S’s premium food range without going overboard. This spot earned praise for “selling abundance without sliding into excess” and for turning a mundane situation into a celebratory set-piece.
For its clothing and home division, M&S took the opposite approach. The retailer quietly rolled out five short, product-focused spots (by Mother Design) rather than one big film. Set to 90s hit “Rhythm Is a Dancer,” these spots feature everyday scenes – a family decorating a tree or friends around a Christmas table – each with a slightly surreal twist. There’s no celebrity star (an ad featuring White Lotus’ Aimee Lou Wood was reportedly scrapped) and no big emotional reveal. Instead, M&S simply showcases its apparel, homewares, and gift-wrap in use. It’s an unusual “under the radar” strategy for a major retailer, but it reflects a tighter budget (M&S had a tough year) and a focus on higher ad frequency.
In my view, it’s a smart move: the 10- to 20-second bursts cut through the clutter with consistency. There’s a coherent visual and musical mood across them, and the approach squares with Chief Creative Officer Lucy Miller’s philosophy of ‘leave the sentimental complexity to the food side and keep this one straightforward.’ (In fact, she says scarceness of profit meant clothing had a “trimmed ad budget” this year.) The result is unconventional but on-brand: M&S quietly “hits the ground running” without trying to emulate the blockbuster campaigns of others.
Barbour – Wallace & Gromit “A Grand Day Out”
Not to be overlooked, Barbour continued its heartwarming animation tradition. The beloved British country brand once again partnered with Aardman Animations to release a stop-motion short, “A Grand Day Out at Christmas,” starring Wallace & Gromit. In this charming mini-film, the eccentric inventor and his dog set out on a last-minute present-delivering mission. They soon realise that sometimes the most thoughtful gift is one you make yourself – a classic Gromit twist.
Visually and thematically, this ad stands apart from the CGI-slick high street ads. Every frame is handmade: the characters and sets are “sculpted, textured, and lit with tangible warmth”. Even its gentle countryside palette and tactile details feel like a hug from a bygone era. That analog craft lends the piece an authenticity that big-budget computer ads can’t replicate. It’s a reminder that sometimes brand storytelling can literally be a work of art. In a year of heavy tech and digital polish, Barbour’s clay-crafted whimsy feels refreshing – and deeply British.
NSPCC – “Most Dangerous Time”
A word of caution: Christmas ads don’t have to make you smile. The NSPCC released “Most Dangerous Time,” a powerful film by GOOD Agency that strips away the holly to show a harsher reality. It follows a child named Sarah, haunted by loneliness as the holidays approach, with a haunting cover of “Ring Christmas Bells” as her only companion. Director Sara Dunlop handles it with stark restraint – no bells, no sentimental climax, just raw truth.
It’s brutal, in the sense that it pulls you out of the festive bubble. The message (Childline exists for a reason) is unflinching. Creativeleaders around the industry have praised it for its unorthodox bravery. In our world of targeted marketing it stands out as a reminder that ads sometimes have a purpose beyond pushing products – some seek to save lives. NSPCC’s work shows how a Christmas ad can change the conversation by asking us to look beyond the cushions and consumption. In short, it’s the year’s most unsettling but vital piece of festive filmmaking.
Dogs Trust – “Thank You for My Happy Place”
On a kinder emotional note, Dogs Trust (with VCCP Blue) delivered one of the season’s sweetest spots. “Thank You for My Happy Place” follows a rescue dog, Buddy, through ordinary holiday scenes: muddy walks, cozy snuggles, Christmas morning surprises. Told from Buddy’s perspective (voiced by Mark Benton), it quietly conveys that for a dog, the best gift is feeling safe and loved. It’s low-key but incredibly sincere.
VCCP’s creative Ross Neil sums up the insight neatly: “Dogs can’t say thank you, not with words. But they show it every day, in their own way.”. Watching, you can’t help feeling the sentiment: of all the things in the ad, the bond itself is the true gift. It’s not flashy – no CGI or celeb cameos here – just a golden retriever and ordinary family moments. But its simplicity is its charm. Both creative and press commentaries noted this campaign as a lovely antidote to consumerism: it stretches across TV, social and even an in-store toy whose profits go to rehoming dogs. In our roundup of creative execution, it reminds us how authenticity and heart can make an ad shine.
Lexus – “Over the Years”
Lexus returned with its annual holiday instalment; this time titled “Over the Years.” Rather than showroom gloss, the Japanese carmaker delivers a quietly moving day-in-the-life ad. Fleetwood Mac’s “Landslide” provides the soundtrack as we watch a family’s Christmas mornings unfold decade by decade, seen through a father’s eyes. It’s intimate – a daughter grows from toddler to teen in snippets – with the cars only gently present. Director Justyna Obasi lets the pacing breathe, so the visuals and song carry the emotion.
Like the Dogs Trust spot, the impact here is subtle. Team One’s Jason Stinsmuehlen nails the lesson: “You realise how quickly this all passes if you don’t take stock of every moment”. This ad isn’t selling performance specs or technology; it’s selling time and memories. In an industry obsessed with novelty, Lexus quietly celebrates longevity and the people who stay with us – even in brand form. “Over the Years” is beautifully shot and emotionally honest. It’s a reminder that not every Christmas ad needs elves and sparkle – sometimes the simplest stories under the tree can be the most moving.
Honorable Mentions and Trends
We’ve covered the heavy hitters, but a few others deserve quick mention. Argos (with T&P) continued its tradition of goofy humour, this time kidnapping TV personality Simon Bird to show grown-up gifts are just as fun. Disney+ released a lovely century-celebration spot that threads Disney scenes through a woman’s life, proving “great stories stay with us for a lifetime,” as their VP Emma Quartly notes. Lidl quietly ran an ad about kindness and generosity, narrated by a child – not flashy, but very on-brand for their community angle. And in the sporting world, Manchester City (in-house) put out a gentle film about fans and hospital patients uniting under blue, highlighting charity and unity. The Waitrose spot featuring Keira Knightley and comedian Joe Wilkinson is also a cosy little idea executed well.
Stepping back, a few themes emerge across these ads: 90s and early-2000s music (Alison Limerick, Duran Duran, Fleetwood Mac) make frequent cameos, anchoring ads in parents’ youth. There’s a strong tilt toward realism and relatability: messy family dinners, commuting traffic jams, quirky everyday chaos. Emotional resonance rules over spectacle: multiple ads trade CGI for human moments. And many brands are tying marketing to purpose – JLP with charity vinyls, Dogs Trust with fundraising toys, NSPCC sending a message beyond sales.
From Saatchi’s creative directors in London to Aardman’s animators in Bristol, from strategy planners to production crews, the talent pool this season has delivered. When we asked around for thoughts, many agreed: 2025’s batch of ads may not all top the tear-jerker charts, but they innovate in other ways – by embracing humour (Tesco), nostalgia (John Lewis, Coca-Cola, Sainsbury’s), and even social conscience (NSPCC). As Saatchi’s Franki Goodwin put it, these ads are “bangers on many levels and in many channels,” sparking conversations of the season.
What’s the Best Christmas Ad of 2025?
In the end, what makes an ad “the best”? It’s the creativity to surprise us, the heart to move us, and the craftsmanship to present a message beautifully. So far, 2025’s festive ads have hit the mark on all those fronts.
I’m proud to showcase these campaigns and even prouder to be part of a community that celebrates such creative storytelling. Here’s hoping the rest of December brings a few more gems. For now, I’ll keep my eyes peeled (and the tissues and popcorn at the ready) for whatever the ad world unwraps next.