Hasta La Creative!

Na sociedade atual, costumamos dizer que uma situação estressante deixa a gente com os cabelos brancos. Mas, afinal, o que causa o embranquecimento de nossas madeixas? E o que esse processo significa para a nossa saúde? Saiba neste episódio do Naruhodo! — no papo entre o leigo curioso, Ken Fujioka, e o cientista PhD, Altay de […]

> LEIA MAIS: Naruhodo #81 – Por que ficamos com cabelos brancos?

Agencies invited everyone to the party at Cannes years ago. Now they’re the ones with hangovers. Amid concerns the event has grown too costly for an industry grappling with fierce competition from consultancies and dwindling revenue from clients, agencies are rethinking all that ros.

“The sun is setting on Cannes,” said one agency exec affiliated with a major holding company. “Clients with each passing year are demanding more accountability. They look at this award show that celebrates a kind of creativity from a couple decades ago. Now it’s not OK to be frivolous. It’s not OK to waste money.”

Still, it’s hard to say the Cannes Lions International Festival of Creativity flat-out doesn’t matter, especially as it keeps getting bigger, tech companies and consultancies keep raising their stakes — and the clients keep flooding the Riviera. “On its face, you can’t argue that Cannes is irrelevant. The better question is, what role does it play credibly in an industry that is defined by much more than simply creative excellence,” said Jason DeLand, a partner at Anomaly. “At its worst, it’s a boondoggle. Somewhere in the middle is a great place to connect and network and probably at the very top end it’s a place to learn and get inspired.”

Continue reading at AdAge.com

Two female chief creative officers are to head one of the world’s most creatively-awarded agencies, as Wieden & Kennedy promotes Susan Hoffman to co-chief creative officer, alongside Colleen DeCourcy.

DeCourcy was named chief creative officer last October while Hoffman, who worked alongside her in the past as global executive creative director, shifted into the role of executive creative director of the agency’s Portland office. The pair will now be based mainly in the agency’s Portland and New York offices.

Hoffman has worked at Wieden & Kennedy for 32 years, “employee number eight” at the agency when it was still young. She has worked in Amsterdam, London, New York and Delhi as well as Portland on campaigns for clients including Nike, Old Spice, Levi’s, Chrysler, Targetand Procter & Gamble.

Continue reading at AdAge.com

Her disclosure of classified documents in 2010 ushered in the age of leaks. Now, freed from prison, she talks about why she did it — and the isolation that followed.

If creatives are judged by their talent, not their background, why are fewer working-class people
working in our industry? It’s time to go back to school to redress the balance.

Nicholas Coleridge, who is retiring as managing director of Condé Nast Britain after 26 years, has made it his duty to turn up to everything – awards, parties, launches – in pursuit of his titles’ interests, naturally. Here he reflects on a glamorous career in the Xanadu of glossy magazines.

Tech companies may make much of their money by selling “you”, but the something-for-nothing economy also has some surprising benefits.

Wieden & Kennedy’s last ad for dishwasher soap brand Finish is a 75-second ironic musical that lays bare the apparent misery that people endure when washing up by hand.

Isobar’s former UK chief Steven Moy has resurfaced at R/GA as the digital shop’s new chief technology officer in the US.

Campaign’s round-up of account moves across advertising and media.