1998 FACES TO WATCH: When it comes to reaching the top, there are no rules. Eleanor Trickett profiles the diverse industry talent that wins the ultimate kudos: respect, and sometimes fear, from their peers and managers

At a time of year when many people are looking back at the previous 12 months, Campaign has a stab at spotting those who will make their mark on the industry over the next year and beyond. Here, in honour of advertising’s younger generation, we highlight those people of 30 and under who are capable to rising to the very top of their fields.

At a time of year when many people are looking back at the previous

12 months, Campaign has a stab at spotting those who will make their

mark on the industry over the next year and beyond. Here, in honour of

advertising’s younger generation, we highlight those people of 30 and

under who are capable to rising to the very top of their fields.

This is a selective and subjective survey, based on the views of

Campaign staff and their contacts. But we are confident in our belief

that the men and women we feature here are representative of a

generation which, over the next decade or so, could run the businesses

they now work in.

JESSE PERETZ, 29, Cowboy Films

The work that makes Jesse Peretz’s showreel knock you sideways will,

unfortunately, never make it to these shores. Peretz has been directing

in the US for the past few years since leaving the post-grunge band, the

Lemonheads, and has directed ads for Nike, Sony PlayStation and MTV. Now

he has been discovered by Cowboy Films, and is looking for ads to shoot

over here for British clients.’His work is simple, fresh and honest,’

says Lisa Bryer, managing director of Cowboy. ’He doesn’t let the camera

or the art department rule the dialogue.’ His directing style should

easily translate to what European clients want, and it is, so far, only

his choosy nature that has held him back. ’He’s available in 1998 and

can’t wait to start shooting some British films,’ says Bryer.

JAMES BURROWS, 22, Sebastian Bishop 22 Publicis

’Talented teams are two a penny - these days, you have to be gorgeous

too,’ says Gerry Moira, Publicis’s creative director, somewhat


Let’s talk about the talent part. This team - Bishop is the art

director, Burrows the writer - is praised for being in tune with the

zeitgeist, knowing what will catch on before it does. So when they

boldly shoot speculative ads for multinational giants such as Coca-Cola,

they actually run - if you recall the Cherry Coke ring pull masquerading

as a navel-ring. Now, they’re establishing Coca-Cola in Russia, having

spent 12 days shooting in Moscow and three weeks exploring Siberia.’Lots

of creative teams are like cuckoos in the nest squawking: ’gimme!

gimme!’,’ says Moira. ’These guys just get on with it.’

SIMONE FORSTER, 29, Saatchi & Saatchi

Simone Forster may be a suit, but she’s still passionate about creative

work. After all, she has to sell it with conviction. So even though she

took a bit of a back seat when the creative gongs were being dished out,

her work on the Commission for Racial Equality and its ’brains’ spot

will probably be on her CV until she’s 90. ’She really drove it

through,’ says Adam Crozier, Saatchis’ joint chief executive. Her reward

was being made account director on Campbell’s and Gillette. She joined

Saatchis in 1993 as a graduate trainee, which was when she met fellow

Saatchis new boy, Julian Diment, to whom she is engaged. ’They are both

talented and good-looking,’ sighs Crozier. ’ I want to vomit every time

I see them.’

KATY DAVIS, 23, Ammirati Puris Lintas

Ammirati Puris Lintas now lets its graduate trainees loose on their

business from day one, and since joining last autumn as one of six

trainees, Katy Davis has gained the confidence of the agency and the

client for her work with Rover. Andrew Cracknell, APL’s chairman, says:

’There are plenty of opportunities to rise through the ranks here - and

she will.’ But the most obvious testament to her prodigious talent was

her performance on the first stage of the IPA’s Seven Stages training

programme. Not only did her working group receive the highest marks for

its presentation and strategy, but she got an individual gong for being

the best presenter.

Helen Edwards, an account director, says: ’To present that well at that

level is unusual. She has real enthusiasm and passion, and the IPA

recognised that straight away.’

STEVE RAMSAY, 29, London News Radio

’Maverick, determined and refreshing,’ are three of the printable

descriptions of Steve Ramsay. A slick young example of a senior sales

executive he ain’t, but his methods work. After sales jobs in local

radio, a Maidstone ad agency and a publishing company, he came to LNR’s

national sales team when Neil Webster - a 1996 Face to Watch - set it up

in December 1996.

Revenue from his agencies has shot up by more than 150 per cent, and he

has secured some impressive sponsorships. ’He has loads of hare-brained

schemes which don’t always come off - but when they do, you think: ’How

the ...?’,’ Webster says.

RICHARD BEESENING, 27, Andy Blood 30 Rainey Kelly Campbell Roalfe

Robert Campbell, a creative partner at Rainey Kelly, has come over all

paternal. ’There’s so much in Richard and Andy that was in myself and

Mark (Roalfe),’ he muses of the pair, responsible for copy and art


’They’re a pair of smartarses.’ The list of creative credits goes on and

on, but this team will for a long time be remembered for the BTAA

award-winning ’grim reaper’ spot for Virgin Atlantic. They were found

’on the streets’ by Campbell and Roalfe, having been removed from

McCann-Erickson, allegedly for being a bit cheeky. That was four years

ago, before Rainey Kelly even had an office, and Campbell now admits

that part of the creative environment at the agency revolves around

their work, which includes Ionica, Tia Maria and Virgin Cola. A David

Abbott/Peter Souter-type relationship suggests itself and Campbell

admits he would like the team to stay forever.

SUSAN BYRNE, 23, Michelle Power 28 FCB

A female creative team at FCB? Indeed, the executive creative director,

John Bacon, is the first to admit that it was time the department had a

more ’healthy mix’. Power, a writer, and Byrne, her art director, were

named D&AD Students of the Year in 1996 and Bacon is confident that they

will help raise the agency’s creative profile. As a result of their D&AD

accolade, and an excellent book, they were let loose on Tambrands, and

were responsible for FCB’s last work on Tampax Satin before the account

moved to Leo Burnett. Since then, they have worked largely on

new-business pitches, including one for Coors beer, which FCB won. Bacon

says: ’They’ve been a team for all of ten minutes, but they’re

incredibly mature.’

CHRIS WILLIAMS, 27, Leo Burnett

Chris Williams set out to prove his tenacious buying skills at his

interview with Leo Burnett’s media director, David Connolly - and it

nearly cost him his job before he’d got it. ’He challenged my own

negotiating skills by trying to renegotiate his salary from the onset,’

Connolly recalls, flabbergasted. Williams backed off when he thought he

was in danger of losing the deal - as is his practice - and is now group

head on United Biscuits, having spent his first year in the Procter &

Gamble buying unit.

’When everyone around him tries to blast their way into a deal, he

charms his way in,’ says Connolly. ’When I saw how laid back he was, I

worried about his results. But they’re fantastic.’


Nikki Crumpton’s grounding in the media department of BMP - and a spell

at Carlton before that - has furnished her with enough planning savvy to

have impressed many a client.

Having just picked up an APG gong for the ’use your vote’ campaign for

the Ministry of Sound, she has proved funky enough to influence cool


But she’s also worked on the Meat and Livestock Commission and PG


On the Meat campaign, Crumpton has had to deal with some very difficult

PR. ’There’s always something tricky in the newspapers,’ says Nigel

Jones, head of planning at BMP, ’but I can’t think of an account team

that has a closer relationship with the client.’


Suzy Moore is a WCRS veteran, having popped up year after year during

university holidays. She started at 18, making tea and sarnies, but

academia called and she went off to Liverpool University. On a holiday

tea-making visit, the head of client services, Stephen Woodford (now

managing director), mistook Moore for an account manager. On her return

as a graduate, she was discouraged from applying for a traineeship -

there seemed no point.

She was deemed perfect for WCRS’s flagship client, Orange, and she is

now an account manager.’When you ask her what she wants to do,’ an

insider grins, ’she says: ’I want to rule the world!’.’ As Woodford

says, cornily: ’Her future’s bright. Her future’s Orange.’

JON GITTINGS, 27, Manning Gottlieb Media

’I think he was a squadron leader in a past life,’ says Colin Gottlieb,

managing partner of Manning Gottlieb Media, of Gentleman Jon. In this

life, however, Gittings is an associate director of the agency, and is

one-seventh of a management team that will take on more of Gottlieb and

Nick Manning’s business as time goes by. The ex-YMG Carat boy’s work

with Mother on VirginNet gleaned praise, as the brand’s trademark arrows

were slapped on everything from lampposts to dogs. He runs the pounds 13

million Eurostar account, and Gottlieb says: ’If he is in a very senior

management position five years from now, I won’t be surprised.’

NIKKI MENDONCA, 28, Capital Advertising

Capital Advertising completed its senior structure in December with the

appointment of Leo Burnett’s group head of media planning for Procter &

Gamble as its head of planning. Nikki Mendonca wasn’t planning to leave

but, in her own words, was ’yanked out’ by Capital.’Nikki has all the

qualities you’d look for in a salesperson, but she’s also a fantastic

planner,’ says Fru Hazlitt, sales director of Capital Advertising,

explaining why Mendonca has been able to forge productive relationships

with all departments. Mendonca has plenty of options in the future,

having worked on the agency side and the media owner side.


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