IS THERE LIFE AFTER ADVERTISING?: Four former ad execs reflect on the contrasts between their current spheres and the advertising industry now they have moved to different jobs

If everybody in the industry who claims that they began their career in the post room is telling the truth, over the years the advertising industry must have benefited from having the most efficient internal mail systems in the country.

If everybody in the industry who claims that they began their

career in the post room is telling the truth, over the years the

advertising industry must have benefited from having the most efficient

internal mail systems in the country.



True or not, one thing the claim does highlight is the tendency in ad

agencies for people to join at a low level and rise to the top, staying

in the same industry for their entire career.



But industry observers are beginning to see change creeping in. A career

in advertising seems like less of a life-long commitment than it used to

be.



As Richard Hytner, the chief executive of Publicis, says: ’Once upon a

time, those who worked in advertising believed it was centre stage of

all communications. Now there is a healthy realisation that there are

many other forms of communication to offer clients.’



There are several factors chipping away at the longevity of a career in

advertising. Consolidation means there are fewer top jobs; the rise of

e-commerce has supplied lucrative alternative careers, and the

appreciation these days that communication should be central to every

company’s strategy has made advertising execs a valuable commodity.



Chris Thomas, the managing director of Lowe Lintas & Partners, agrees

that agency staff are hot property. ’It’s terrific preparation for a

second career if that’s what you want. It gives you a cross-industry

perspective on communications issues.’ This is unequivocally proved by

the range of jobs the four individuals featured here have gone into.



Thomas’ words are echoed by Leo Burnett’s chief executive, Nick

Brien.



’Branding is everybody’s business now. It’s the business of the City,

media owners and more. The power of the brand means our skill-set of

strategic thinking combined with creative understanding is now in great

demand in other industries.’



The rise of e-commerce has absorbed staff from every industry, but the

thirst for skills in communications means the advertising industry has

been hit hard. Paul Simons, the chairman of Ogilvy, says: ’Dotcoms have

been tempting people away, but that has died down now. Lots of people

delved in because of the money on offer but it’s less secure now.’



He adds: ’I’ve noticed that dotcoms have made more people aware of

part-ownership of a business.’



Merger mania has also thrown pressure on to top staff. Each time two

agencies merge, one chairman, chief exec, managing director, etc become

unnecessary. Of the four people profiled here, both Carol Reay and

William Eccleshare left advertising after their respective agencies

merged with another.



However, Thomas is clear that mergers do not mean there are fewer top

jobs to be had. In fact, consolidation has led to the rise of global

accounts and the people who run them. ’The nature of the top jobs has

changed.



Now there is often more influence in running global brands,’ he

says.



As advertising matures into a responsible money-making global industry,

there is no doubt that the work is getting harder, is often not very

creative and that individuals are becoming more accountable. It’s not

such a cosy place to work any more. But the same maturity is requisite

for the industry’s future growth.





WILLIAM ECCLESHARE



Then: chairman of Ammirati Puris Lintas



Now: a partner at the management consultancy McKinsey



The real difference is, inevitably, the people. Agencies enjoy an

extraordinary variety of human life that coexists in a state of

permanent, productive creative tension.



When I started at J. Walter Thompson, almost everyone claimed to have

started in the mailroom and an eclectic mix of backgrounds still exists

in the best agencies. There’s no consistent standard, qualification or

formal training required.



At McKinsey, nothing is left to chance when it comes to people.

Recruitment is treated almost as science. I had 26 interviews before

joining. Training is continuous and appraisal is exhaustive.



And, while I always felt we kept ourselves well informed in agencies,

I’ve been astonished by the emphasis here on building and sharing

world-class thinking. Virtually every Friday since I joined, I’ve

attended a ’retreat’ devoted to developments in one industry or another.

Real investment in this, and in genuinely proprietary research, at

levels no agency could ever justify, begin to explain the very different

economics of management consultancy.



I miss the leaps of faith, the intuition and even the ravings of an

inspired creative director. I seem to have traded those for a hugely

consistent and high level of intellect, an endless quest for proof and

the absolute conviction that the data will provide the answer.



So it can seem a bit serious at times and, of course, I miss my

friends.



And we don’t do lunch. Ever.





CHARLES GARLAND



Then: group development director at Bartle Bogle Hegarty



Now: at 19 Management, responsible for launching S Club 7



I now appreciate why leaving Bartle Bogle Hegarty was a difficult

decision.



The ad industry enjoys an unfair share of talent. Agencies such as BBH

are fully resourced with extraordinary creative talent. For me, that

creativity was always at its zenith in a pitch, when people are free to

question clients’ business and brands, and everyone worked as a team.

It’s a shame that most of those ideas remain in the pitch document and

the agency relationship with its new client is downsized to one of a

pure supplier of advertising.



Agencies are capable of much more. In a sense, this broad-based

creativity is agencies’ greatest waste product.



Working with broadcasters, record companies, entertainment and

communications companies, there is an unsatisfied demand for this

all-round creativity.



We operate in a highly competitive, fast-moving business where the

consumer judges your creativity on a daily basis - be it via television

ratings or CD sales. Attracting consumers requires consumer insight and

an ability to use TV, music, the internet, merchandise, databases, video

and so on.



Maintaining a creative advantage in these categories requires at least

four capabilities: the use of consumer insight to inspire innovative

content; understanding of the opportunities presented by media

developments; understanding of brands, and big ideas.



These are truly rare commodities and if they sound familiar to you, it’s

because you work in a great agency.





CAROL REAY



Then: deputy chairman at Grey Advertising



Now: chief executive of Great Ormond Street Hospital



I can sum up how advertising seems to me now I’m at Great Ormond Street

in one word: shiny. Now, the fact that I am inclined to sum it up in one

word shows I’m an ad person and it also tells you something about the

business.



I have a new job in a new world. People think I’ve gone to work in a

charity. I haven’t. I’ve gone to work in a hospital. It’s a special

place and at first there was a stark contrast to advertising. It’s so

grown up. People at Great Ormond Street Hospital deal with something

that really, really matters.



An old colleague used to say: ’This is advertising. Nobody dies.’ You

can’t say that here. At first, this new world seemed so touchingly and

painfully meaningful, I felt scared to breathe. But now I’m less scared.

I love seeing that children are children first, then they are sick

children.



So, how do I see advertising? It’s lively, sparky, fearless,

iconoclastic, merchant, easily bored, outlawish, young, clever, noisy,

opinionated, garish, childlike, hopeful, innovative, quick and very

creative. It seems oddly insubstantial too - as I discuss the brand and

the logo with my favourite professor of endocrinology. But he

listens.



I used to think I was in advertising by accident - I now know I wasn’t.

I fitted it like Cinderella fits the slipper and I bring that spirit to

this hospital.





TIM LITTLE



Then: board account director at Leagas Delaney



Now: founder of Tim Little Shoes on the King’s Rd, London SW1



When I left advertising it was like leaving the Moonies. I needed to lie

in a decompression chamber for a month before I could recognise my own

family.



I had only worked for Leagas Delaney and Lowe, so I hardly had a

balanced view of the business.



But now that I look back, I see good and bad.



The incredible thing about the advertising business is the quality of

the people. From top to bottom, the average agency is staffed with very,

very talented people and it’s only when you leave and get involved with

other businesses that you realise how rare that is.



Advertising people should be head-hunted every day by their clients

because, for the most part, they are far more talented.



On the downside, I see an industry becoming more ordinary by the

minute.



As clients reduce fees, agencies need money more, they therefore give in

more easily on creative issues, they have to work their staff harder and

pay them less, the work suffers, it does less for the clients’ business

and clients end up valuing it less. The virtuous circle of the 70s has

become the vicious one of today and nobody knows how to stop it.



The only way I can explain it now is that people I know who are in

advertising seem to be more tired and less proud than they were 15 years

ago.



Mind you, they drive 911s and I ride a scooter - so what do I know?



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