Pentawards 2026 - Dynamic Page (cloned

JDORAW x Pentawards 2026: Meet the finalists

competition

student

With 108 entries for our JDORAW x Pentawards competition, we brought an expert panel of judges to Paris to help find our finalists. Meet the finalists here

With 108 entries for our JDORAW x Pentawards competition, we brought an expert panel of judges to Paris to help find our finalists. Meet the 7 finalists below

This year we teamed up with global design agency JDO for an exciting brief challenging young creatives to make the fuddy-duddy fabulous again, turning tarnished tins into tempting treats and outdated snacks to modern day hits.

With 108 entries, meet the top 7 entries below.

Piccli by Clara Smethurst

Inspired by British ‘picky bits’, Piccli is a contemporary take on piccalilli that encourages people to move away from formal dining and embrace relaxed, shared outdoor eating experiences.

Piccli promotes the idea of ‘ditching the table’ and enjoying ‘piccli bits’ in a more social and spontaneous setting. With its distinctive mustard and turmeric flavour, the product brings a tangy brightness to picnics and outdoor gatherings. The visual identity reinforces this concept through custom ‘picking’ hand illustrations created from the chosen typeface. The letter ‘P’ is transformed into a hand and arm, reaching to pick the dot of the ‘i’, highlighting the playful idea of ‘piccli bits’ embedded within the brand name. To further support the brand narrative, an outdoor picnic photoshoot was staged to create authentic imagery that captures the spirit of shared, informal dining.

Catch Club by LUCA School of Arts

Sardines have a serving problem. The oil, the tin, the fumbling for a plate, the awkward moment at the apero table where a great product suddenly feels like a hassle. Good sardines deserve better than that.

This packaging concept starts with that frustration and designs its way out of it. The fish-shaped form isn't decoration, it's function. It goes directly from shelf to table, becoming the serving dish itself, no extra tableware, no apologetic bowl on the side. The sardines arrive the way they should: as something worth sharing. An integrated drainage system solves the one thing everyone quietly hates. A controlled pour, no mess, no oil pooling where it shouldn't. One small detail that changes the whole experience.

The visual identity holds its own on both the shelf and the table. Clean lines, a confident silhouette, bold enough to read from across the aisle, refined enough to leave out during drinks without a second thought. Form follows feeling here. This is packaging that earns its place in modern food culture by respecting the product, respecting the moment, and making the whole thing a little more enjoyable.

A little crabby by Maisie Slade

First produced in Japan in the 1970s, crabsticks became a feature on the British buffet table well into the 1980s. Their popularity dwindled over the subsequent thirty years.

A Little Crabby marks the revival of the crabstick for 2026, positioning the protein-packing sticks as a quick snack with attitude. Crabsticks are comprised of mainly pollock or cod, reduced to a paste named Surimi, and reformed into the distinctive compact white and pinkish sticks. They contain little to no crab at all, hence the brand name A ‘Little’ Crabby. The mascot, affectionately named Surimi, is a touch grouchy – crabby even – as he promotes the brand on supermarket fridges, posters and stickers on the streets, and on social media.

The packaging is inspired by traditional Japanese methods of paper folding, wrapping and fastening. The process of unwrapping the snack uncovers concealed layers, each revealing a little more about A Little Crabby. The expressive typeface is also customised to suggest sticks of paper, in crustacean colours, no curves, all angles. Without abandoning their traditional roots, A Little Crabby brings crabsticks to a modern day snacker.

Cloud.co by Alice Robinson

Cloud Co. is a modern take on a British classic: Angel Delight, REWHIPPED.

Elevated classic flavours form a luxurious, but quick and easy dessert for busy people who don’t want to miss out on indulgent treats! Individual pouches contained within a sleek, but playful box, make it simple to make after a busy day.

The packaging has been designed with intention. A airy illustrative icon (sponge printed!) for each flavour on the front of the box, sets the sophisticated and fun tone. The cloud logo swirls behind the sides of the box as a nod to the whisk motion of making the dessert. The swirling lines can also be used across OOH and social activations to tie it together. The brand imagery feels editorial, but playful too, paired with simple copy.

Overall, the visual language works hand in hand with the ease, yet quirky nature of Angel Delight, but grown up! Cloud.co isn't just a dessert, its an elevated experience.

SWEET FOOL by Germán Miranda Garrido

Sweet Fool was born from the need to bring traditional products to a new generation; that classic dessert that was crying out for a fresh touch and a modern update.

The brand carries over the double meaning of the word into both its language and brand's visual identity. Lots of colour, irregular and abstract shapes, silly faces, and phrases with double meanings are the core essence that completely defines it. It is a brand made for smart people who would rather eat a fool than be one. That’s the vibe.

Furthermore, the product remains true to the traditional ones, made with local and the most natural ingredients possible, so it beats any comparison with the fool of your grandma. The Sweet Fool expands from the popular and iconic gooseberry flavour to the freshness of mango and strawberry. Each one is perfectly distinguished by its colour and the bold and friendly fruit illustrations, fooool of charm, created specifically for each flavour.

Eel not Eww by Jen Fang Tan

“eel not eww” is a cheeky, eel‑only brand that takes one of food culture’s most misunderstood ingredients and turns knee‑jerk “eww” into a very smug “mmm~”.

A long, wiggly green‑and‑pink eel curls itself into a swishy calligraphic “eel”, making the creature itself the hero of the brand and quietly asking people to look twice instead of looking away. The palette of pink, green and beige, combined with stars and wavy lines, creates a cute little collectable item rather than a scary seafood can.

The whole vibe is simple: make eel look so fun and adorable that even the haters start wondering if they’ve been wrong this whole time.

The Black Hound Paula Gil San Felipe

The Black Hound is a contemporary reinterpretation of traditional British black pudding, blending heritage with a bold, disruptive attitude. Rooted in classic ingredients and recipes, the brand challenges outdated perceptions through a striking punk-inspired identity.

At the core of the brand is an iconic English greyhound, reimagined with a rebellious aesthetic—symbolising elegance, instinct, and defiance. This duality reflects the product itself: a familiar staple presented in an unexpected, modern way. The visual language combines raw, tactile materials with graphic elements drawn from British culture, such as check patterns, reworked with a punk edge. The use of kraft packaging, sticker-based branding, and bold typography reinforces a sense of authenticity while breaking traditional norms.

Rather than romanticising the past, The Black Hound reframes it—transforming a humble, often overlooked product into a distinctive, design-led food experience. It is a brand that respects its origins but refuses to be defined by them, appealing to a new generation seeking both quality and character.