PR: ADLAND'S HIGHEST PROFILES - The most written about have more than one string to their bow



The Saatchi brothers offer an object lesson in building a profile. Take a catchy name, double it (by adding a brother), then build one advertising career - attached to the rise of the Tories (helped by the brothers' 'Labour isn't working' campaign) and strengthened by publicity. The more successful route thereafter (Charles) seems to be to take a small fortune, made from the business, and spend it on something which draws the crowds - such as Tracey Emin's bed - and, hey presto, you have a name synonymous with both modern art and advertising. A peerage undeniably adds profile. Lord Maurice Saatchi may only make roughly half as many newspaper references as his brother, but at 120 or so mentions in the serious national press over the course of 2000, he couldn't be considered low profile. Not only does he have the ad tag, but by being a Tory peer he gathers some more political column inches as does being prepared to talk to the press.


With an estimated personal fortune of pounds 125 million and an interest in more communications businesses than you can shake a stick at, Sir Martin is a byword for the communications business. He scores top marks for personally promoting the company, which is now comfortably larger than arch-rival Omnicom. Even Sir Martin is somewhat gloomy about 2001, however. Recent results for WPP, although strong, showed that the group had budgeted for zero growth in global advertising revenues in real terms this year.


Glazer is the latest in that celebrated line of ad makers who have achieved fame by crossing into the fantastical world of movies. His gangster film called Sexy Beast seems to have sufficiently convinced the critics to mention him alongside the likes of Alan Parker, Adrian Lynne and Hugh Hudson. Considered by many to be a sexy beast himself, Glazer's film may have only recently been released, but he's already had more than 50 mentions (more than three times as many as Tony Kaye) in the newspapers in the last year.


Beattie may not yet be a household ad name, but in the ad world he's got adspin credentials like no other. Lifted into the limelight by the 'hello boys' Wonderbra ads in 1994 and kept there courtesy of the 'fcuk' ads and the Labour Party. He's evangelical about getting ads noticed and doesn't do a bad job on himself. With get-noticed hair and dress sense, he plays up the bad boy image. He even hired PR man Mark Borkowski with a brief to 'make me famous'. But he's not just a pretty face. His nice turn of phrase and a willingness to put pen to paper has also put him on the hitlist for editors and secured him a column in The Guardian.


Over the past decade Rupert Howell has been consistently charming, while in equal measure his agency's work has been attention grabbing. Naturally it helps your profile to keep your name in the agency brand, especially when the agency is behind the Tango and Egg ads. Now he's in advertising's upper echelons and taking on the supra-agency role - both in the parent company (in his case Chime) and as the IPA's president. He's a natural spokesman for ad issues. Even if his personal spinning as IPA president earned him some criticisms last year, his PR skills have worked on the side of the industry.


Might help that Powell rhymes with Howell and press hounds might be thinking: 'Can't get hold of Howell ... Who's the other one that sounds the same?' (or the other way about). Otherwise, Powell's profile has been upped by that sibling thing (see Saatchi above) and that politics thing (see Saatchi and Beattie above), with Powell's brother, Charles, being as influential with the Tories as Powell has been with Labour. He may have a rising number of press mentions given his new move to a more hands-off role of chairman to BMP. He is oft-quoted on the subject of advertising and politics - even if the Labour Party account is now with the spinmeister himself, Trevor Beattie, at TBWA/London.


Having trod the ad industry boards as president of the IPA and chairman of the AA, as well as author of various books on advertising, Fletcher has kept his name in journalists' contact books for many moons. Though he still writes a lot (including a regular column for Management Today), his number of national press mentions (at 12 in the last year) is below the likes of Howell and Powell signalling his membership of the old guard. Not as old guard, or perhaps as out of touch, as Peter Marsh though, who became a watchword for political incorrectness and had not a little to do with the decision of the IPA to create a press office.


Another shining example of how to get famous by being-an-adman-and-something-else-as-well. That Beaumont is one of the best known names in adland, when he was a cog in the advertising wheel a year or so ago, says it all. It can at the very least teach you that you can't sit still. But pulling a trick like writing a novel as successful as e and pouring all your ad experience into the composition isn't likely to happen to many.


Yup, we do have representatives from the fairer sex - albeit with national press mentions in the single figures. Ingram's passion for Saatchi & Saatchi is palpable and that vigour finds its way through. Despite declaring that she doesn't enjoy being interviewed, she has had a decent airing in the press and her fiery and energetic persona, with its conviction in the agency and its culture, has passed well beyond Saatchis' offices.


Walker is up for publicity. The founder of an agency called after herself, she is clearly not shy of having a high profile. Not only does she plan and buy space for ads, but she has also appeared in them, as one of the faces for the Newspaper Society's campaign. As well as being quoted in run-of-the-mill business items, she is, naturally, cited on the ever-topical subject of the small number of senior women in advertising. Added to which she is happy participating in those Me and My ... features. Walker, who has a wardrobe of loud, here-I-am colours, knows the value of being noticed.


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