What am I most proud of? Probably Patek Phillipe, the pitch-winning campaign that I wrote 20 years ago. Since then, the line ‘You never actually own a Patek Phillipe. You merely look after it for the next generation’ has endured the years and, while it’s never won any awards, it’s helped turn the name that was known only to the experts into the most desired watch brand in the world.
I'm proud to have worked with and for some of the people who made British advertising so envied all over the world.
I'm proud of everything that I've worked on that's had a positive effect on the clients' businesses and causes. Especially the causes.
I'm proud to be among the all-time ten most featured copywriters in Lürzer's Archive magazine.
I'm proud to have been one of the few copywriters selected for D&AD's updated edition of The Copy Book.
And, at a time when creatives don't seem to want to be copywriters (or art directors) and the major agencies have lost the very communication craft skills that helped them create their most influential work, I'm still proud to be a copywriter. (Damn it.)
As a Creative Director, I could show you amazing work that my agencies produced while I was there. But what’s to prove that its creation owes much to me? So, while I’ve enjoyed assisting and representing the many talented creatives that came up with some great ideas, and to have introduced those ideas to some great clients, the ads on this site are just some of the pieces that I’ve written and produced myself.
At the moment, I'm working on project-by-project contracts for a number of different agencies. Among them, Mullenlowe kept me busy through 2015 on a few global Unilever campaigns. The&Partnership in New York recently asked me to help on briefs for Credit Suisse and The Wall Street Journal. And I've spent quite a while working with BBH.
I've written ads for cars, cleaning products and Chinese computers, political lobbies, banks, breakfast-cereals and the world's biggest deodorant brand, hotels, a supermarket, two great newspapers and a nice, big airline. Some of which have been selected for Archive magazine and were shortlisted at Cannes this year.
Having worked at Leagas Delaney in the mid 90's, I returned in 2011 as the Creative Director, to build the creative resource and the multi-media capabilities, while coordinating and contributing to the tv, print and digital work on all of the agency's accounts. During my time at Leagas, our pitch success rate was one of the highest in London, adding The British Red Cross, The Open University, Lil-Lets, Shelter, FeelUnique, Nuts magazine, Time Centre, Ultraviolet, Moonfruit, MSC Cruises and Waterstones to our client list. And the work that we produced was recognized in both the awards scemes and the trade press.
CHI & Partners
Before Leagas Delaney, I was a Creative Director and Partner at CHI & Partners. Through a healthy period of winning new business (Full Tilt Poker, Heineken, Heyday, Lexus, The Big Yellow Self Storage Company) and some nice big creative awards, the accounts that I led included Lexus, The Sunday Times, The Prince’s Trust, Argos and parts of The Carphone Warehouse.
AMV/BBDO kept me busy for a while before CHI. I was Creative Director across all of our clients, including Guinness (when Matt Doman and Ian Heartfield wrote the Cannes Grand Prix winning ‘Noitulove’) and The Economist (while the iconic poster campaign continued to receive global recognition). I led some of our biggest pitches, including Aviva Insurance, and the retention of BT - at the time, Britain’s highest spending advertiser. And in my first year as CD, more AMV teams won more awards for more clients than had done for a few years.
For a while, I was Creative Director at Ogilvy London. Apart from Ford (which had its own dedicated team) I was involved in all our accounts, including Amex, Unilever and KFC. During my time there, the agency enjoyed a long awaited return to the awards shows.
Before Ogilvy, I was a Group Head (old language for Creative Director) at TBWA, looking after all of the clients of one of the constituent agencies of the recent mergers (Bainsfair Sharky Trott). In 2001, campaigns that I wrote for 5 different clients all won D&AD Silvers.
I did my first stint at Leagas Delaney, following a few years at the now defunct DMB&B, which followed my entrance into the industry via the hallowed doors of Saatchi & Saatchi.