Archive for October, 2009

Local or International? It’s a conundrum, on YouAdDaily

youaddaily_homepage

For a country the size of Wales, the Netherlands sure does have a lot of creative agencies, design bureaus and digital hot shops. When I first moved to Amsterdam from London in 2000, I was gobsmacked by a list I saw in Adformatie, roll-calling the ‘Top 100 Ad Agencies’. This statement implied that there were plenty more where these came from, the rest just hadn’t made it to the giddy heights of the top rankings. Surely, I pondered, this country wasn’t big enough for 100 of any business, except, perhaps, cheese shops?

But I was wrong. Amsterdam, in particular, is awash with creative talent just itching for an agency to attach itself to. Up until recently there’s even been enough client business (pretty much) to go round. The question is - local or international?

Obviously, there’s nothing wrong with either. Play to your strengths, do the best work you can pull off and conduct yourself with a bit of integrity - I’d have thought that was a good starting point for any business. I’m always surprised, however, at the number of people who make a sport of sneering at the prospect of either local or international projects. And, occasionally, both. What are people ashamed of/threatened by (delete as appropriate)?

In the last two or three years, in particular, there are more and more opportunities for agencies to establish themselves on a regional playing field, if not win coveted international business. Gone are the days when ‘international’ meant 180 or Wieden+Kennedy. These days, pitch consultancies and clients alike know Amsterdam through the work of TAXI Europe, Amsterdam Worldwide, Perfect Fools, Sid Lee, and de-Construct, amongst many many others. Surely, the more respected the Netherlands (Amsterdam) becomes on the international industry stage, the better we all do? If Amsterdam wins a new European festival, such as the arrival of Eurobest at the end of November, we all win.

Locally, we all know there are excellent Dutch agencies competing fiercely in the market. Some of those agencies are also highly skilled in crossing the border between local and regional markets - Grey Amsterdam, for example, or BSUR, or Lemon Scented Tea. It just seems to me that there are too many agencies who think that by saying, ‘we work internationally’, then - ding! - with a puff of fairy-dust, it becomes so. It so doesn’t.

For a start, if you are going to work internationally, please think about employing a few people beyond the Benelux map. Sounds obvious? Then you’d be surprised how many companies don’t think so. Far too many companies see ‘international’ as little more than a word in the credentials presentation. You are not going to truly get under the skin of a global A-brand if, come lunchtime, all the guys eat their boterham met hagelslag cut into quarters, with a knife and fork (the single least sexy thing I have ever witnessed, by the way). One reason for an agency like Wieden+Kennedy’s success (and a key differentiator within its own network) is the 20+ nationalities under one roof in the Amsterdam office.

A cultural melting pot brings its own challenges to any agency, but, great gods, it certainly informs the work.

Agencies come and go - some even stick around - but one thing is certain: locally, regionally or internationally, Amsterdam’s reputation as a centre of excellence for the creative industries is nowadays firmly secured. So long as agencies make an informed decision as to who they are talking to.

Posted on Monday, October 26th, 2009 Top Back to Top

The Ego Has Landed - Is Posturing Part of a Creative’s Job?

youaddaily_homepage

 

Whenever I’m working on launching a campaign, there is one part of my job I never look forward to. Last minute changes? An ftp site that simply doesn’t work? Running out of coffee when I’m struggling with a deadline? Nope - the credits.

The credits - this simple list of who did what - has spectacular power in separating the men from the boys. Journalists who write about ad campaigns, whether it’s integrated, print, TV or viral, sometimes - but, and this is key, not always - request additional background information. They want to know the major players, so they can credit them. Sometimes accreditation is limited to name of agency, but mostly the executive creative directors, producer, director, art director and copywriter will be lined up to receive a bow. Does everyone who busts a gut pulling the campaign together get to see their name in print? No. But were they included on the credits list along with someone from just about every department who sneezed over this project? Generally speaking, yes.

I get it; you worked long and hard, above and beyond the normal call of duty to get this campaign rolling. You want some recognition for your efforts, especially if you are proud of the results. That’s why I’m happy to include your name in a small but perfectly formed don’t-mess-with-me credits template. I know a journalist isn’t going to credit everyone every time, but if seeing your name on a list on a website is going to help you sleep better at night, then sometimes you’ll be lucky.

What I don’t get, is how seeing your own name in print becomes the be-all-and-end-all to the perceived success, or otherwise, of a PR campaign. And why is it always the creatives who act out?

I can secure exclusives in leading NL, UK, and US publications, place interviews with key members of the team, and follow this up with campaign coverage in every major international industry publication. I can even get coverage talking about how much PR coverage there’s been. But if you don’t see your name in print, Mr Art Director and Ms Copywriter, or worse - you see someone else’s name where you think yours should be - then you’ll be throwing your toys out of your Bugaboo faster than I can say ‘Hollywood called, they’re loving your work’.

For the most part, people conduct themselves with a fair amount of dignity. An account director, a planner, or the guy who re-set the alarm this morning, is not especially inclined to make a fuss if their name doesn’t come up in a Google search against the latest campaign title. And let’s be fair, the majority of creatives aren’t either. But if anyone is going to shout at me on the phone, call me incompetent or generally bitch and moan, then, honestly, it’s going to be a creative.

My question is this: what is it about the creative psyche (or the way in which they are allowed to behave at work) which sanctions this kind of behaviour? Nature or nurture? Are creatives good at their job because this is a fundamentally ego-centric and volatile part of their character or through our misplaced hero worship - the creative is king! - have we created a monster?

Rather than a witch hunt, screaming that the PR is shit, or burning me as a lazy heretic, creatives need to appreciate that I don’t single-handedly control the media.

Suggesting that the success of a campaign comes down to your name in lights is arrogant, foolish, ignorant and just plain wrong. We all get it, a creative campaign needs creatives pulling their weight and doing a brilliant job. But wouldn’t there be more time for brilliance if you weren’t on the phone to me wondering why I’m deliberately persecuting you because you aren’t credited?

Dignity. Always dignity.

 

This article appeared on Monday 5 October at YouAdDaily.com.

Posted on Monday, October 5th, 2009 Top Back to Top