We鈥檙e coming up to the Two Year Anniversary of Covid-19, and it鈥檚 fair to say that with the all of the change and disruption both within the industry and the wider world, it鈥檚 shaken loose a lot of opinions and questions about the status quo and given people a pause to re-examine priorities. Funny how a global pandemic can do that. And throughout the year we鈥檝e had no shortage of laser-sharp insights, punchy questions and sizzling takes.
So what were some of the big topics and hottest takes on Little Black Book in 2021? Let鈥檚 find out鈥
John Hegarty on the Lost Art of Persuasion
In one of the most popular interviews of the year, . Between the overly-interested data grab and the insistence of turning up everywhere, it鈥檚 no wonder people can feel bombarded and harassed. Advertising has become a stalker - rather than a seducer.
鈥淲hat we've become obsessed with over the last 20 years is promotion. Virtually all social media is promotion: promote, promote, promote, promote. They've given up on persuasion: I have to persuade you that this is a great brand. There's a great line: a brand is made not just by the people who buy it, but also by the people who know about it. That is so important, and we've forgotten that lesson. Take Rolls Royce. I'm sure neither you or I will ever buy a Rolls Royce. But we know who they are. We know what they stand for. We know what values they have. Therefore, it adds to their value and their desirability. We've forgotten that.
鈥淛ust as we, as creative people, have forgotten to look back at the history of advertising, I think marketing people today have forgotten how to build a great brand. And somehow, we're going to have to get back to that.鈥
Eunice Tan on Crazy Rich Asians and Pan Asian Homogenity
When it comes to representation across Southeast Asia, many brands have shied away from depicting the true diversity of the region, instead gravitating towards a kind of bland, pale 鈥楶an Asianism鈥. It鈥檚 homogenous and speaks to the Western aspirations of the rising middle class - but fails to reflect the reality.
鈥淭his region is seeing a seismic shift in human migration. As Southeast Asia develops, a rising class of young, empowered individuals are moving across cities and countries to gain better life and work experiences. Over the past decade, we鈥檝e seen workplaces getting younger and more diverse. A confluence of backgrounds, life experiences and ideas are perfect ingredients for making interesting work, because the simple fact is that interesting people make for interesting work.
As a new generation of Southeast Asian talent enters the workforce across both agencies and client organisations, we need to ask, 鈥淲ill they be proud of the stories we tell?鈥 What will they say when asked about the talent we cast, the scripts we write and the mediums we use? How does this shape the culture we want to build and leave behind for the new creative class? Instead of making work that makes us proud, it鈥檚 time we start creating work that makes our children proud.鈥
Peter Ampe on Neurodiversity
navigating a highly social industry where easy-breezy networking skills can be taken for granted and alienate neurodiverse people as they move through their career.
鈥淚 remember my first global council. Everyone patted each other on the shoulders and called each other 鈥榤y friend鈥 or 鈥榓migo鈥. It gave me a giant brain freeze. I鈥檓 not a natural socialiser; in fact, as someone with Asperger Syndrome it鈥檚 something I鈥檝e long had to figure out on my own. When it comes to unleashing the potential of neurodiverse talent - and make no mistake this potential is enormous - should agencies take a more proactive, inclusive approach?鈥
Amitabh Bhattacharya on Religion in Indian Advertising
Religion is one of those topics that we鈥檙e advised to avoid in the interest of politeness - but Amitabh Bhattacharya at Never Ending Story has no such qualms.
鈥榃hen rooted in a genuine sense of purpose and responsibility, brands can of course use their platforms for the greater good. But we see just as many advertisers leaping onto contentious topics or causes that they don鈥檛 really care about. We鈥檝e seen it with polluters using marketing to greenwash their image, or with companies that don鈥檛 promote or support their women employees jumping onto the female empowerment bandwagon. And now religious division and conflict is stoked to generate PR buzz and commercial advantage. Whether it鈥檚 cynical and disingenuous or simply self-delusion, I don鈥檛 know. But what I do know is that it behoves the industry to be mindful, empathetic and most importantly, sensitive.鈥
Mia Powell on Tokenism vs. Authenticity
For a few moments in 2020 it looked like advertising was going to change how it represents and works with Black people, but as 2021 rolled along, change-makers found themselves pushing against inertia and the industry鈥檚 tendency to flit from one issue to the next. Mia Powell, who has recently joined Steve McQueen鈥檚 Lammas Park and previously worked at Prettybird and RSA, .
鈥淲e all (I hope) took a moment to think about our positioning in this world, our relationship to one another and our allyships with the Black (queer and trans+) communities. We were galvanised to change the industry, 鈥減owerful鈥 statements were upchucked onto socials and pledges were signed in order to really act on the inequality and lack of representation. Really though, if we're honest - all that was actually happening was agencies and brands were having a total freak out.
鈥淔or a few moments adland went from really fucking bleak, for many of us, to then spotting a faint hopeful light at the end of the tunnel. But then as you take a few timid, but trusting steps towards the light, you plummet down a hole of 鈥渦nconscious bias鈥 meetings and come out the other end feeling on edge and even more anxious that you are, actually, a secret racist. It鈥檚 fascinating how we as a society can fully accept WAP as a cultural moment but a Sainsbury鈥檚 Christmas spot singing about gravy is just way too taboo. This in itself feeds into the automatic patterns of bias where certain images of Black people are allowed and some aren鈥檛.
鈥淐all me cynical, but corporate entities trying to get their 鈥渉ouses鈥 in order by shouting from the rooftops 鈥渨e need a Black director鈥 is not actually a healthy way to go about addressing the issue. Cue the influx of Black content from brands struggling to find a message that says 鈥渨e鈥檙e here for you too鈥. I find it problematic for a number of reasons: it fetishises Black culture and becomes a fad, instead of a behavioural shift to become more inclusive.鈥
Szymon Gruszecki on Getting Sick and Underestimating Covid
Out of the squillions of Covid-19 think pieces, this interview with Szymon Gruszecki at Graffitti Films in Warsaw is perhaps the only time we saw someone really enter the heart of darkness and talk about the real, human impact of Covid-19. Not as a business problem to be solved or a talent issue or strategic challenge - as a debilitating illness. , and what he鈥檚 learned as a leader from the experience and why we need to stop people feeling like they need to rush back to work.
鈥淚n Warsaw, the majority of the workforce is made up of people who come from outside, so they don't have any family support. They come, rent an apartment to get a good job, good pay, but they don't have their mother or father or family around. So, there's a bunch of people who are struggling alone and they can't get any support.
鈥淭hey're not going to go to their boss and say they can't sleep because they're going to feel less useful to the company. When people are working online and they get sick, there's no way to connect to your employees in a way that you would feel that there's something wrong with them. There's a tendency that people, especially in hard times, are trying to be braver and tougher and stay useful. So people are not really saying what's going on with them. And if they're experiencing trouble or problems but not willing to share with anybody, that's a pretty dangerous situation. You're going to have people who are fighting depression or an ongoing heart problem or breathing problem, and they're not letting anybody know that they need help.
鈥淭his is an international problem. People staying at home, getting sick and trying to pretend that everything is OK. It's hard to admit that there's something bad going on and take care of it.鈥
Kate Morrison on the Pain of Remote Editing
Getting shit done while stuck at home has required producers to grit their teeth and force optimism in sub-optimal conditions. And, as a whole, the industry has made remarkable leaps in remote production since the pandemic struck. But we really appreciated And from her perspective, while many elements of production can relatively easily be carried out remotely, editing remotely remains an enormous pain point.
鈥淲hen everything's going fine on set it's actually amazing how well it works to be remote but, for example, when an angle isn't working and you can't quite see what's there and figure out how to push it that extra way, that's a tough part of it. I thought a remote shoot would be something that's pretty loathsome and difficult but with the right prep, remote shoots work pretty well. But something that surprised me was that I find remote editing to be actually surprisingly painful. With editing it's like, let's go down this way, let's see what happens if we go here, what if we do this? I've found that our teams would almost rather get back in there to help noodle things as a priority, which I wouldn't have expected a year ago.
鈥淪ome of the software works in terms of watching the real time edit, but again it's the creative problem solving of 'what if'. I think that our creative teams get very in the weeds with editors on that process, and it's been harder to forge that remotely. You're sort of trying to cobble pieces together, saying things like "we like this from 1C and this from 2A鈥 and it becomes a bit more of a Frankenstein process than I would have expected. With editing you might think that it requires less from a physical sense than a shoot might, yet somehow weirdly it almost doesn't translate as easily to being remote.鈥
Harjot Singh on Letting Your Light Shine
We鈥檇 love to see McCann鈥檚 global CSO try his hand at some sort of Joan Didion-esque memoir because his columns have been utterly life-affirming, raw, vulnerable and poetic. Inspired by the spirit of Pride season, . 鈥淒on鈥檛 Dim Your Light, They Can Put Shades on鈥 he says.
鈥淓very time you have a crisis of confidence, thinking about your sense of place in this business, you need to understand that this is not a business made up of algorithms or concrete and bricks and mortar. This business is made up of what people do and think. There are people behind the business, there are people behind the brand, people behind the campaign, behind the idea. Nothing is a result of some inanimate object.
鈥淪o if everything's made by people, and you're a person too, you have just as much right to be part of that narrative as anybody else does. Don't hold yourself back, don't assume that you don't have the right to play. You have to get in the game and own it. You have something to offer. You are valid. You belong here. Do not tell yourself stories that are not true.鈥
Jimmy Smith on the Industry's Uncreative Approach to Creative Talent
, the legendary creative and Amusement Park Entertainment founder says outdated models and archaic approach to defining what creativity is, is stopping adland from reaching the 鈥榙opest鈥 talent on the planet.
鈥淚 remembered what Pee Wee Kirkland said - he was a street basketball legend and drug kingpin from the 70s - he said: 鈥楾he only difference between me and the Rockefeller kid is the Rockefeller kid was born into the Rockefeller family and I was born in Harlem.
鈥淪o when I visualised that and saw the contrast between Crenshaw and Harvard-WestLake, I was like man, if we could tap into the talent that鈥檚 in those neighbourhoods [where] there are millions of kids getting left behind, there might be the cure for coronavirus and we don鈥檛 know it because we just throw them away, throw them in prison - especially folks of colour - so part of what we do [at Amusement Park Entertainment] is working with folks who don鈥檛 have the opportunities everyone else had.
鈥淚n this industry, if you don鈥檛 go through the proper protocols and gain the right credentials, they don鈥檛 know what to do with you鈥 It鈥檚 weird given the fact we鈥檙e supposed to be creatives.鈥
Lauren Haberfield on the Resilience Trap
When it comes to women in the workplace, we should be well versed in the various language traps that lay in wait in terms of gendered expectations. that sees women feel they have to downplay genuine challenges, tamp them down and struggle onwards in the hope of appearing tough and virtuously silent.
鈥淲e are proud to be resilient. We wear the word like a badge of honour. It has become a trait for women to aspire to. Books and articles (from myself included) have been written about the value of resilience. When I was selected for the Cannes Lions 鈥楽ee It Be It鈥 programme in 2018, the theme was... you guessed it... resilience.
鈥淲e鈥檝e all drunk from the resilience Kool-Aid. And it tasted so good. Finally there was something positive to come out of so much struggle. All that inequality hadn鈥檛 been for nothing, it was to build this invaluable trait that would make us better people, creatives and leaders. Resilience in itself is an incredible thing. To be resilient is to be strong, to get up when you鈥檝e been knocked down, to keep showing up and hustling day in and day out, no matter how hard it gets.
鈥淲hich leads me to question鈥 if resilience is so amazing, why is it only for women?鈥
Sir Martin Sorrell and Wesley Ter Haar on Tombs for Talent
2021 saw a rebrand for Media.Monks and continued, out-paced growth. One of the keys to their success, is a fluid approach to talent and a ruthless approach to stodgy hierarchies that they reckon are weighing traditional agencies down and creating needless overheads.
鈥淚 think clients are clearly indicating to us and moaning about the amount of overhead that they had to pay and which they see loaded into the fees. They鈥檙e also concerned about the complexity of the traditional model. What you鈥檝e heard from Wes鈥檚 answer was that we鈥檙e trying to simplify it鈥 We鈥檙e trying to simplify the structure and process.鈥
鈥淭he competition has become too heady鈥 it鈥檚 rather like the civil service. The bureaucracy that they鈥檙e building up is huge and clients have to pay for it and they don鈥檛 get yield.鈥
Hannah Hayes-Westall on Joyful Sex and Why the Industry Needs to Pay Attention
In our art and advertising column, MullenLowe鈥檚 strategy director The discourse around emotion in advertising has given rise to a sentimental earnestness as brands try to make us cry. Hannah reckons they need to look to the spicier end of the emotional spectrum, particularly after two years of Covid-19 when we鈥檙e all feeling a bit flipping bored.
鈥淭he argument for the creation of emotionally charged advertising work is one that was long ago won, but in creating emotional work we so often focus on the sentimental, the maternal, the soft.
鈥淒ecision making theorists from Kahneman and Tversky to Damasio and Thaler all propose versions of the idea that when we are overwhelmed by the volume of thinking needed to survive we fall back on our most basic instincts. Yet if, in these exhausting times we are drawn to expressions of self that reflect the relief of finding respite in joy with another, why wouldn鈥檛 advertising reflect that need? Perhaps, to connect with tired people in this tiring moment, the most humane response might need us to think more literally, to lift the burden and reflect the uplifting simplicity of our most basic needs; shelter, joy, and yes, sexy times.鈥
Mel Arrow on Performative Polarisation and Pineapple on Pizza
You know that 鈥榗lunk-click-ping!鈥 moment when you stumble upon a perfectly distilled phrase that just perfectly expresses something you鈥檝e been struggling to put into words? That was me when . Using the most empty and facile of fake debates - pineapple on pizza, yay or nay? - Mel delves into a phenomenon that says so much about life in 2021 and lands on some surprising insights.
鈥淢ask on, mask off. Remain, leave. Polarisation is a central tenet of today鈥檚 politicised society. But this article isn鈥檛 about politics. No no. It鈥檚 not about the kind of polarisation we read about on front pages, that shapes society in big and meaningful ways. Oh no no no. It鈥檚 about a specific genre of polarisation that鈥檚 discussed passionately every single day, across every corner of the internet, even though the people involved in it don鈥檛 actually care all that much about it. These are low stakes disagreements that everyone can get involved in. What The Economist calls 鈥榩erformative polarisation鈥. Arguments for the sake of arguments. Arguments because you happen to have the platform, time and inclination. And the queen of all performative polarisation debates? The longstanding argument about the merits of putting pineapple on pizza.鈥
Mick Mahoney and Kevin Chesters on Creativity for Everyone
In the advertising industry, creativity has grown to become thought of as this secret, sacred, cloistered thing, available to only a precious few anointed talents. But Harbour Collective鈥檚
Mick Mahoney and Kevin Chesters are keen to encourage everyone to engage with creativity and are using insights from the world of behavioural science. The pandemic has encouraged people to try new things and explore their creative side - and they think it鈥檚 really important to nurture that.
鈥淪omeone said to me, 鈥榠sn't this a dreadful time to bring this book out, because hasn't everybody been sitting there, with their brains atrophying?鈥 And my answer was, 鈥業 don't think we could be further from the truth鈥. Over the first lockdown, the Open University saw a 622% increase in signups for creative courses, the most popular of which was creative writing. 50% of women in this country took up a new craft hobby during the first lockdown. I think, because we were ripped immediately, violently and involuntarily away from our normal overnight, suddenly we're making sourdough and gardening and all this shit. Now that we're coming out of Covid, I think the challenge is not to get people to think creatively. I think it's to protect it and nurture it and continue it.鈥
Thomas Kn眉wer on Why Great Creatives Aren鈥檛 Automatically Great Leaders
and which is one of the unacknowledged drivers of the current talent crisis.
鈥淚 think we should train people more. Exactly what you just said, 'You're not a creative anymore. You're now a leader.' We don't train for it, but my natural career progression is from art director to creative director and I just became more senior. That's bullshit because the job profile completely changes when you change roles. At first, your ideas are awesome, and then you have to make other people's ideas awesome. That's a huge shift because a lot of people are trained to have ideas for themselves and are also trained to be a little bit narcissistic in a sometimes negative, sometimes positive way, but you want to fight for your ideas, right? They are your babies and you want them to survive. Then your job is to be more of a caretaker for the ideas of others. I think we suck at that training in the industry.
鈥淣ot every good creative is a good creative director. Some people should just stay being a creative. They may be a brilliant copywriter, a brilliant art director, but really shitty at leading people and not the best communicators or not the best with conflict. I think we as an industry need to be more vocal in saying, 鈥極K, you're awesome in what you're doing creatively and you should be more senior in that, but we don't see you as a leader'. I've seen so many people quitting or really getting sick because of people who didn't know how to lead but were brilliant creatives. That's why in our agency, at the beginning of this year, we established a distinction between creative director and creative principal.鈥
Rob Shepardson asks Can CEOs Save Us?
Politicians' infighting is holding up meaningful change - Rob Shepardson, co-founder and partner of SS+K, and Jeff Shesol, co-founder and partner of West Wing Writers, .
鈥淭he incapacities of government create an even greater imperative for companies to act. Customers expect it; employees demand it. There鈥檚 a growing sense that companies鈥 enormous influence on our lives gives them an obligation to apply their wealth and power toward positive societal ends.
鈥淕iven all this, it has become commonplace for CEOs to develop 'purpose-driven' agendas, hire chief purpose officers, and sign collective declarations of intent regarding climate change, racial equity, and other pressing issues. Having long worked in developing such agendas and drafting such declarations, we would respectfully note they mean little in themselves.
鈥淭he premium is, as it must be, on action. CEOs must step in and step up, individually and in concert 鈥 not to solve every problem but to fix the ones that their companies are best equipped to fix, the ones that no one else has the capacity to fix. This, now more than ever, is what enlightened corporate leadership looks like.
鈥淢any of the CEOs who share this perspective are unclear how to put it into effect. They鈥檙e struggling to distinguish the important issues that fall within their purview from the important issues that don鈥檛. And even when that decision is made, they鈥檙e struggling to find the right way to articulate it. For most, this is new and treacherous territory.鈥