Has Campaign succumbed to the cult of the Moonies, sucked in by the
’virtual office’ mantra of advertising’s pet co-operative? Or has St
Luke’s been awarded ’agency of the year’ because of its outstanding
pounds 21 million new-business run? Or because campaigns including
Ikea’s ’furniture findings’ and Boots’ ’happy bits, happy self’ have
broken new ground?
Or could it be that - love it or hate it - St Luke’s, as a co-operative,
has managed to achieve something different in business.
This year’s debate was heated. Much discussed were BMP DDB’s inspiring
agency reel and Rainey Kelly Campbell Roalfe’s GM Astra victory. Euro
RSCG Wnek Gosper’s phenomenal new-business performance forced the agency
However, it was the all-round performance of the two-year-old St Luke’s
that set the agency apart from its rivals. Born out of the merger of
Chiat Day’s London office and its TBWA counterpart in1995, St Luke’s set
out to be different. This was reflected in a structure that ensures
everyone - from receptionist to managing director - has shares in the
company. This might sound progressive, but does it work? So far, the
answer is, ’yes’.
The agency’s policy of replacing offices with ’brand rooms’ dedicated to
each client has proved attractive to new business. This year, St Luke’s
stepped on to the United Distillers and Coca-Cola rosters, as well as
picking up the COI’s Welfare to Work project, which looks likely to be
the most lucrative advertising contract of the Labour Government’s first
term in office.
Coupled with Fox’s Biscuits and Clark’s shoes, billings on new accounts
totalled pounds 21.2 million, with the Observer the only loss of the
On another level, St Luke’s response to its growth has been mature for
such a young company. Each hiring ultimately means a new shareholder, so
expansion has been steady rather than rapid.
St Luke’s will now only pitch for accounts worth more than pounds 5
million, unless there is a valid reason for doing so, and withdraws from
reviews which the team cannot do justice to. Detractors, of course,
denounce this as ’wimps pulling out of reviews they can’t win’. But how
many agencies can see the writing on the wall, and then have the guts to
respond to it?
Creatively, St Luke’s cannot be judged by the yardstick of industry
awards, since it never enters them (it’s all about teamwork, you see,
But a scan through the year’s work shows that it has had more than its
share of big ideas.
This year’s Ikea campaign, for example, took a tongue-in-cheek look at
the correlation between behavioural traits and the furniture in your
home, and has sent sales of green sofas soaring. Similarly, Clark’s ’act
your shoe size not your age’, transformed the brand’s image by looking
at the product from a child’s point of view.
Other creative highlights include work for Boots Natural Collection
which features a naked girl in a tank, commercials on a Mission
Impossible theme for the Midland Bank and Radio 1’s repositioning.
Profitability, as in most private companies, is a closed book. St Luke’s
rivals are fond of saying its results are below average for its size,
but operating profits are very comfortable by any standards this
Yet financial performance is only one of four goals for the agency,
which include quality of work, impact on clients’ business and the
well-being of staff.
Since the agency is owned by its staff, excess funds can be channelled
into other areas to help develop their interests. This year the agency
split into three groups - two to handle advertising and one to explore
ideas in programme-making.
All of the above has combined to give St Luke’s a brilliant year,
removing the doubts about flakiness that contributed to it failing to
beat Abbott Mead Vickers BBDO last year. Smaller agencies don’t often
win this prize, but St Luke’s consolidated its reputation as a leading
None of this detracts from the achievements of other agencies. BMP, for
example, although chalking up a slower 12 months on the domestic
new-business front, was praised for its work. It became the first UK
shop to win a D&AD gold in 11 years for its Doritos idents, and produced
some glorious advertising for Volkswagen, Sony, Legoland and the Meat
and Livestock Commission. It currently has - by some way - the best
showreel in town.
Memorable Rainey Kelly work includes the ’grim reaper’ commercial for
Virgin Atlantic, as well as interesting executions for the Times,
Beamish, Virgin Cola and Virgin Atlantic ’upper class’ with Helen
On the new-business side, a good year also turned into an excellent one
in December, when Rainey Kelly won the task to launch GM’s new Astra
An honourable mention goes to a transformed Euro RSCG for its fantastic
new-business year, which brought in a net pounds 46.7 million in
billings, including a potential pounds 32 million from Abbey National
and pounds 4.2 million from Haagen-Dazs, propelling the agency to the
top of Campaign’s business performance league. Next year’s challenge
will be to ensure its work matches these standards.
Mother, the year-old start-up that promises a rounded approach to
communications, has also had a stonking year. It won the prestigious
Lilt account from Coca-Cola, relaunched Unilever’s Batchelors Super
Noodles and picked up tasks from Emap On Air, Kickers, VirginNet, and
CarLand. Despite its size, Mother made its mark on the industry, proving
that clients are open to new ways of working.
Recent winners: Abbott Mead Vickers BBDO (1996, 1995), HHCL (1994),
Bartle Bogle Hegarty (1993), BMP DDB Needham (1992)