These are facts. But digital hysteria is in danger of obscuring the one essential fact: nobody will eat, drink, sleep and love all-digital - not today, not tomorrow and not in 100 years.
Nevertheless, our lives have changed because of it. For anyone working in advertising, this is a challenge. We can no longer rely on tried-and-tested advertising ideas. And we have to move beyond our old touchpoints of demography, advertising messages and reasons why.
We have to start to find the best solution for the problem - and this means not only being creative but also innovative. Untill now, creativity meant having a new and interesting advertising idea. But the new age demands that we also learn to better and more clearly define our clients' problems and more clearly express the target objective.
But this doesn't mean that the classical media, like print, will lose their importance. Indeed, classical media is gaining a new importance as their role is no longer solely about being a vehicle for marketing communications.
Take the print medium. The power of a great print ad does not depend upon the print environment itself; it depends upon the quality and innovation of the creative advertising idea and how well it solves the commercial issue. But the print medium is there to support all this. The print media is able to offer flexible and innovative ways in which advertisers can use newspapers, magazines and posters.
Of course, as in the old days, intelligence, simpleness, relevance and execution are key. And, of course, there are still classical ads that are surprising and convincing, despite their classical creativity. But if you have to judge and question print advertising, you should think about more than its previous state/conditioning as a supporter of classical advertising messages.
So as creatives, we have the duty and - in my opinion - the honour of finding new ways to harness all that is powerful about the classical media.
This is our focus at the Meribel Ad Festival: we're looking for brilliant ideas, innovative handling of the print medium and approaches that teach us how to interpret a so-called classical medium in an absolutely new and very modern way.
- At 38 years old, Amir Kassaei is one of the youngest chief creative officers in Europe. He was born in Iran, brought up in Austria and studied in France. His career began as a copywriter at TBWA and Barci & Partner; then he joined Springer & Jacoby as a copywriter, working his way up to executive creative director. In 2003 he took over as chief creative officer and associate partner of DDB Group in Germany. Kassaei is also a member of ADC Germany, ADC New York, D&AD and CCA. DDB was voted the Global Agency Network of the Year by Adweek, and, according to the Gunn Report, it is the most creative network in the world.
Winner: Print Cristal 2006
Campaign: Marmite Squeezy
Client: Unilever Bestfoods
Agency: DDB London
PRINT CRISTAL 2007
Entry deadline 2 November 2007. Award ceremony 14 December 2007 in Meribel.