More than half (55%) of senior marketers are too busy to provide creative input for their own campaigns, according to research, with 48% admitting they are “over-dependent” on agencies.
Focus sur Masha Demianova, une photographe russe basée à Moscou. Que cela soit dans le domaine de la photographie de mode ou bien de simples portraits, cette artiste parvient à offrir des clichés d’une grande sensibilité a découvrir en détails sur son portfolio et dans la suite de l’article.
The Advertising Standards Authority (ASA) has struck a deal with Trading Standards, allowing the ad watchdog to threaten legal sanctions to brands repeatedly breaching the rules with non-broadcast ads.
Patrick Hoffstetter, the chief digital officer at Renault, says the rise of digital has meant there is a “new era” in the car industry where the marketing director is becoming a “publisher”.
(TrendHunter.com) These humorous smartphone gifts will certainly satisfy any tech enthusiast looking to add some comical elements to their mobile devices.
With the amount of smartphone cases and accessories on the…
Dan Jago, the highly-respected category director of beers, wines and spirits, at Tesco revealed some insights on its wine shoppers using Clubcard and other data.
Luxury car retailer HR Owen will enter the social media fray for the first time next year in order to leverage the “great content” at its disposal.
With the creative pitches out of the way, British Airways is still refining some of the finer details of its mammoth advertising review. It is now examining the production and content capabilities of those invited to participate. An announcement on the final winner is expected shortly.
Agencies are also preparing their credentials for the global Tiffany Co pitch, which is being run out of New York. Meanwhile, Whitehall has been busy. With the weather closing in, the Government Procurement Service has contacted agencies on its roster inviting them to pitch for its long-running winter flu brief for the Department of Health .
The GPS has also been busy shortlisting for its dementia brief, with a final stage held at the Cabinet Office this week. Agencies were apparently invited to participate in a Dragons Den-style process in which they set up stalls so that “dragons” (such as the Health Secretary, Jeremy Hunt) could come around and quiz them. Who thought the Government could be such fun?
Officials say the man arrested served four years in prison for his role as an accomplice in the shooting deaths of three police officers and a taxi driver in 1994.
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As the process for choosing our agencies of the year reaches a crescendo, one is reminded of the differing ownership models of the modern ad agency.
It is unfashionable to admit it, but the US still leads the world in many categories: eating, TV and making sport last an inordinately long time, for instance. The country s philosophy that bigger equals better stretches to job titles too. And in advertising, America s peccadilloes are rarely slow to cross the pond. The role of chief creative officer is a case in point. Chief creative officers have been prevalent in the US for some time and are cropping up more and more in UK agencies. Last week, it was the turn of Abbott Mead Vickers BBDO.
The agency promoted its executive creative director of nine years, Paul Brazier, to chief creative officer and chairman. But is there any substance to the chief creative officer role or is it just a case of booting someone upstairs to make way for younger creatives? Brazier can be comforted, or not, by the response of David Lubars, BBDO s North American chief creative officer and chairman, when asked how a chief creative officer was different from an executive creative director: “Basically, you re the one neck to step on if the work across the agency isn t brilliant.”
Creative
Sean Thompson, chief creative officer, Dare
“Right now in the UK, the title of chief creative officer isn t any different from that of executive creative director. But in the rest of the world, it s another story. In the US, ECDs are more like our creative directors. If you want to be recognised as the creative head honcho internationally, you have to be a CCO. Beyond this, there is a good reason for the title: you need to balance the chief executive or chief finance officer with a CCO. It s important that creativity is the equal of business. With globalisation and the fact that we tend to follow the US, expect more CCO titles to be coming to the UK soon.”
Creative
Russell Ramsey, executive creative director, JWT London
“There has been something akin to an arms race on creative titles over the past few years. Group heads are now called creative directors and so creative directors were bumped up to become executive creative directors. Now the title of chief creative officer has made its way across the Atlantic. The big agencies might have six or seven ECDs, so the bloke in charge needs a bigger title. The creation of new titles can also mean you don t have to change the reporting structure. Everyone feels like they ve been promoted, but they report to the same person as before. I expect there will be a new one along soon. How about president of creativity or creative pope, even.”
Creative
Paul Brazier, chief creative officer and chairman, Abbott Mead Vickers BBDO
“We have to be capable of working on a huge scale while having an attention to detail. To achieve this, we need the key creative people in the right areas. As the chairman, I will expand my role of ambassador for the agency, being available to consult or lead on our biggest creative challenges. I will also continue to creative direct particular accounts. As the chief creative officer, my executive creative directors, Alex Grieve and Adrian Rossi, will report to me. However, I will hand the day-to-day running of the creative department to them. But the most important part of my role as the CCO is to be their mentor.”
Creative
Malcolm Poynton, chief creative officer, Europe, SapientNitro
“A chief creative officer is usually found in large agencies at a global, regional or occasional local-office level, setting the creative agenda, championing creativity at the company level and connecting with senior industry and client relations. Typically, a CCO will have executive creative directors leading local-office campaign development and creative folk. In a large agency, you d be thankful to have a CCO focused on ensuring the creative product is at the heart of the company not there for special occasions . In the case of an ECD, you d be less thankful for the fact that a CCO is on your case about the standard of the work.”
To those of us tiring of agencies that believe an app is the answer to any given marketing problem, it is no surprise that an analogue revival is in full swing, writes Nicola Kemp in our latest ‘Forward 50’ trends series entry.
The Army is seeking agency support in a bid to define its role and win confidence from the public.
Santander has shifted its £27 million UK advertising account out of Havas Worldwide London and back into WCRS without a pitch.
Albion, AnalogFolk, Ogilvy Group, Poke London and SapientNitro are among the 183 companies that have been appointed to the Government’s roster for building digital public services.
ITV has estimated that the TV ad market will rise by 2 per cent year on year across 2013 as a whole, several percentage points below predictions from media agency buyers.
TSB, the bank formed after the split of Lloyds TSB, is set to appoint Manning Gottlieb OMD as its first media planning and buying agency.
Publicis Groupe is set to buy a majority stake in Walker Media from its parent M&C Saatchi and fold the business into ZenithOptimedia.
EDF Energy, the company that is majority-owned by the French state, has retained Havas Media as its media planning and buying agency after a final shoot-out against WPP’s Group M.
Ooredoo, the Qatar-based telecoms company, is looking for an agency to handle its global ad account.
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