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“EXXXtreme Global Senior Executive Vice President Group Creative Director” Title inflation is title fraud. For a long time, advertising agencies have used “promotions” as easy rewards in their creative departments. Titles with mismatched authority and responsibility. Too much money spent on creatives who no longer did anything creative. Too much, too soon for creatives who’d had one monster hit but were woefully underprepared to lead teams, grow talent, evaluate work, deal with clients, manage a department or handle the day-to-day of fulfilling on a huge campaign architecture. At one big agency where I freelanced for 20 months, the CCO (someone who actually earned and deserved that title and STILL did actual work) held a big department meeting about it. He’d looked at every account, overlaid staffing charts, and seen that there was an unsustainable bloat at the top of almost every one. An ECD team, a GCD team. Two CD teams. Then a regular CW/AD team at the bottom. Guess who was doing the work and who was evaluating it while being very expensive yet egregiously unbillable? I remember the wave of terror that swept through the room that day. The message was clear that if you had a creative title, you were expected to create work for your client. Your other duties had to be fitted into your creative ones. Your prestige, salary, usually very nice office and other perks were the reward for the harder, more important job you now had. I don’t think there’s any doubt that across most American agencies creative department title bloat is real. And that’s where I believe the fraud comes in. Because the titles are essentially arbitrary. The responsibilities and duties attached to them are so varied no client could reasonably discern what any senior creative really did on their account. And, therefore, whether that creative was worth the fee. And I think that’s uncool. We’ve all met or know of ECDs and CCOs who wouldn’t be an ACD at other agencies. I’m not saying industry creative titles should be standardized. But they should be rationalized and connected to a set of responsibilities that look about the same across the agency landscape. One other great benefit? More junior creatives won’t be as disillusioned about and skeptical of the creative department’s hierarchy. If everyone’s an ECD, no one’s an ECD. (And can we please finally kill the risibly embarrassing ACD title once and for all? No one is fooled by that nonsense.)
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Do you want to see unfinished creative or strategy plans? Reactions range I've experienced: From being Ghosted all the way to → having Love Bombs thrown at me. Questions for: a) Those who work with creatives b) Creatives For those who work with creatives: At what point would you like the creator to involve you in their process? For creatives: At what stage do you allow your client to review your work? Sharing my thoughts and experience with you, even on a bad hair day.
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Art is subjective, sales are not. I see a lot of hostility from creatives toward clients, former clients, other creatives, etc…. In advertising, we’re artists for hire. Art and “reaction” is not the goal, awards and acclaim are not the goal. The client is not a vehicle we ride to accomplish our ends, they are a partner we collaborate with to meet their goals. If we do this well, we can make a good living and a lot of friends doing something fun. #advertising #creative #productioncompany #perspective
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Let’s confess it. We’ve all been there. Hi, here’s Day-2 of making spec ads/copy and practising the craft for the better. While researching the same, I got to read about this really reflective “Reverse selfie” campaign by Dove on D&AD. [“It is scary,” says Daniel Fisher, Global ECD for Unilever at Ogilvy, reflecting on the statistic that 80% of 13-year-old girls surveyed used selfie editing apps to digitally alter images of themselves.]- as mentioned on the page itself. And here’s my entry. Put on your copy hat and judge the work as if I don’t exist. Do share your thoughts below. Ps- need not say, yet, in case you get some interesting copy idea concerning the creative below, just write it :)
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"Why bother educating people? The creative space is hard at the moment so shouldn't you be spending more time getting more paid work in?" That's a question I got asked by someone after I was chatting to a friend about a workshop I hosted yesterday. For me, it's a really simple answer. The more people know about what's out there, the more possibilities open up across the creative sector, not just for us, but everybody. Yesterday, I hosted another one of our clients in-studio to talk all about how table-top virtual production (alongside at other scales) is changing the way we create content. We ran through a little bit about who we really are at Powerhouse, and what we stand for; before delving deep into the new and emergent tech in the advertising space. After the session, we took the team down into studio to have a go at styling a rig; getting them facetime with a creative without a looming deadline or a shot list to get through. Then, onto a chilled out lunch chatting about local pubs; the best roasts in Leeds and dogs. Sure we put commercials and case studies in there to give some guidance, but at the end of the day, it's about sharing knowledge; helping people to grow and expand their creative horizons, not about making a quick buck. We all know the creative sector is being challenged at the moment and there's two ways to look at things: go for glory and grab all that you can; or work hand-in-hand with creative allies to weather the storm together. For me, it's about the latter. Supporting other agencies, whether we work together currently or not, because we can do more collectively than we can in isolation. #creative #advertising #creativeagency
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The number one brief we get in NY at the moment… Ad agency: hiring DD/CD/ECD from a Branding background. Some go incredibly well. Some go incredibly badly. And as tempting as it is for us to say ‘it’s about hiring the right person’… Most of the time, it isn’t. It’s majorly down to how ready the creative agency is to think and act like a design agency. And what they’re willing to sacrifice in the pursuit of design agency level craft. Because you need to sacrifice something if you’re going to compete at the highest level of design. Or as Brian Collins puts it in this article: ‘You can write the entire history of design and never mention advertising once… You cannot write about advertising without writing about design’ Full ad age article in the comments ☺️
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In the latest issue of Ad Age there's an article titled "WHY AD AGENCIES ARE LAUNCHING DESIGN UNITS..." I'm assuming they're LAUNCHING design units because it's another revenue source and it's what their clients need. But HOW do you go about BUILDING that design unit is more complicated. So leave it to Ollie Scott and the fine folks at UNKNOWN to weigh in on the subject:
The number one brief we get in NY at the moment… Ad agency: hiring DD/CD/ECD from a Branding background. Some go incredibly well. Some go incredibly badly. And as tempting as it is for us to say ‘it’s about hiring the right person’… Most of the time, it isn’t. It’s majorly down to how ready the creative agency is to think and act like a design agency. And what they’re willing to sacrifice in the pursuit of design agency level craft. Because you need to sacrifice something if you’re going to compete at the highest level of design. Or as Brian Collins puts it in this article: ‘You can write the entire history of design and never mention advertising once… You cannot write about advertising without writing about design’ Full ad age article in the comments ☺️
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Brand Obsessionist, helping craft cohesive experiences by connecting corporate goals and consumer hearts.
Just had to share Brian Collins comment from this post on how design is often viewed as a “fun extra”, & not as a necessary tool to create profound and lasting impact. I don’t think this could’ve been said any better: ——— “Most of these players will mess it up. Sadly, they think of design as an aesthetic endeavor, a “resource” for the creative department. As if design is a kind of fussy art direction. Design is not about what it looks like. Design is about how it works. It is a fundamentally different function from advertising. Advertising’s driving purpose is fame. Its most powerful tool, even its most vocal advocates say, is repetitive, transitory disruption. The driving purpose of design is building transformative desirability and utility - to create better and enduring futures. (The opposite of disruption.) Agencies that don’t grasp this distinction will never build effective, additive design practices. They’ll have production studios that make fun graphics and animations. And for most, that’ll be fine. That some agencies will call them “studios” is a sad, but clear indication that they see our profession as a bolt-on discipline with on-call exotic menials. (Also, no design firm calls itself a “shop.” Ever.) If an agency calls their advertising teams “creative” and their new design team “design,” you know it’s already doomed. For those willing to reshape their culture around design, it will thrive. Watch.”
The number one brief we get in NY at the moment… Ad agency: hiring DD/CD/ECD from a Branding background. Some go incredibly well. Some go incredibly badly. And as tempting as it is for us to say ‘it’s about hiring the right person’… Most of the time, it isn’t. It’s majorly down to how ready the creative agency is to think and act like a design agency. And what they’re willing to sacrifice in the pursuit of design agency level craft. Because you need to sacrifice something if you’re going to compete at the highest level of design. Or as Brian Collins puts it in this article: ‘You can write the entire history of design and never mention advertising once… You cannot write about advertising without writing about design’ Full ad age article in the comments ☺️
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M.A./M.B.A. creative filmmaker 🎥, photographer 📸 and seeker of stories on a mission to help brands grow.
Two pieces of advice for creatives when working with clients. 1. Stop talking 🙊 2. Listen👂 I was just on a call with a Creative Director (CD) and a client. I’m on board to help with video ad creation. That CD talked non-stop. Always pointing to what we should do and not hearing what the client wanted. And while many of their ideas weren’t terrible, they were mixed up with other thoughts that were honestly just distractions, or tangent to the problem that needed solved. Early in my career I used to think that being the loudest in the room and the one with the most ideas was key to success. Over the years I’ve learned that my best ideas come from listening quietly and the responding to the larger problems. You don’t need to be the only voice in the room. And our job as a creative is to solve problems. And the biggest part of solving problems is listening to the problem. And we listen with our ears 👂 not our mouth 👄 The moral of the story - shut up and listen.
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Working in the advertising industry doesn't carry the same sense of coolness as it once did. Not since the age of tech start-ups at least. However, for many of us, it's been an industry that has provided a rare combination of: - Mental stimulation - The ability to make things that reach people - A salary A guy called Todd Sampson gave me my first strategy job. I was 28. The agency was Leo Burnett. As an experiment, I spent 50% of my time on digital projects because I'd done UX/IA work since I was 20. And then I spent 50% of my time on brand work. I'd been publishing a hip hop magazine, hosting a radio show, and putting on music events in my twenties. If I had an idea, I'd just go and make it happen. I rarely slept because, for many years, the hip hop stuff happened after work. A few years earlier at TribalDDB, Adam Good gave me 20 hours of work a week and let me know work on my own projects as well. I got to work with one of the most creative digital teams in the world by day while pursuing my publishing infatuation by night. At 31, I moved to New York to then deal with years of corporate culture shock. On one hand, I felt the industry was much more conservative, clients more bureaucratic, and most of the work I saw felt like it was from years before (sorry, it's just true). On the other hand, like many of you who make this journey, you hope something you contribute to can reach a massive country. Along the way, I was reminded that I'm not cut out to be a Company Man. But I enjoy the thrill and pace of advertising: "This next brief will be the one..." And, after my last boss, the President of a massive company, told me I wasn't a culture fit to my face, I decided I can't be who I need to be in Corporate America but I can help people in it from outside of it. In the past few years, I've been lucky to train thousands of people in tens of countries. It brings me to life. The conversations we have make me feel a home. Seeing a strategist struggle with things I struggled with years ago makes me feel at home. Seeing the hope in the eyes of people as they do this work makes me feel at home. It's a rare breed of people. And I don't say that in an elitist way. So, that's some of my story. I love reading yours so feel free to drop it in the comments. #advertising #career #work
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