As part of an interview series in collaboration with New York Festivals, we’re speaking with jurors from across the region and the globe about the creative scene in their markets, what they look for in standout work, creativity that had a lasting impact on them, and more.
Next up in our series, we speak with Dave Bowman, Chief Creative Officer, Publicis Groupe Australia & New Zealand.
Dave talks about what he sees as a particularly fertile moment for creativity in Australia and New Zealand, driven by a renewed confidence in the region’s distinct tone of voice and a wave of clients willing to take more calculated risks.
He also reflects on the enduring power of awards and peer recognition in the industry, shares the campaigns currently exciting him at Publicis Groupe ANZ, and looks back at the work that continues to shape how he thinks about creativity.
What inspires you most about the creative scene in Australia and New Zealand right now?
I think I’m incredibly lucky to be down here in this part of the world right now. Australia and New Zealand have always been lucky to be two relatively tiny countries that punch consistently above their weight on the world stage. So, that’s not new.
But I feel like it’s a particularly fertile time and place for creativity here right now. Technology and our pace of adoption have meant we’re connecting more than ever before, and in new ways that are redefining how we help shape brands.
At the same time, I think we’re leaning into our unique tone of voice (more than we have in recent years) and that’s leading to some really fun, modern work. We’re also lucky to have so many amazingly talented people who make up our creative community. There has to be some “legend per capita” thing happening here that is defying the odds, I’m sure.
There has to be some ‘legend per capita’ thing happening here that is defying the odds, I’m sure.
Also, we have some really clever clients these days who are actively pushing for greatness, too, which genuinely helps. It’s hard not to be inspired when your teams, and your partners are equally excited about what’s possible.
It’s part of the reason we’ve launched our shapeshifting creative collective “Le Truc” down here in Australia, too – an opportunistic play aimed at attacking ambitious, multidisciplinary projects, with the right people around the right problems. And for us, it gives us the spirit of a start-up and the scale of a network. There’s so much to be excited about in ANZ right now.
Do you find clients more willing to take creative risks, and how do you get them there?
Some certainly are. But, it’s a tricky time in the world, and obviously, that is trickling down to the marketing sphere too. Even just looking at how fragmented the media landscape has become, you can see how much extra pressure has landed on the average CMO in recent years. In saying that, in amongst all that chaos and complexity, it’s also led to some clients taking more calculated risks. Not just creative ones.
I feel like that creativity is always the shortcut to growth. But, increasingly, it’s important to be able to map that path to growth and make the reward more a certainty. The real risk, to me, is not being creative. Not standing out.
As a juror for the New York Festivals Advertising Awards, what will you be looking for when you review the work this year?
Well, once I get over the initial shock of being included in amongst the phenomenal line-up of creative leaders from across the industry that the team at New York Festivals team have assembled, I suspect I will definitely start out where I always start out – mainly with envy and jealousy. That’s always been a strong barometer for me. And frankly, a constant motivator too. Knowing the caliber of work that has come through already, that will be inevitable.
I am always excited about work that breaks through, redefines its category or opens up new ground for all of us in the creative industry.
I’m sure Andrea Diquez, as jury president, will also have a strong steer on that front, and how she wants each of us to judge the work we see, but beyond that, I am always excited about work that breaks through, redefines its category or opens up new ground for all of us in the creative industry. Those pieces that change the way we (and real people in the real world) think about brands. And the best bit is that it’s really hard to see it coming. I’m giddy at the thought of all that wonderful work coming at us from all angles and changing the shape of what will come next.
Award shows have evolved alongside the industry. What role do you think recognition and competition still play in pushing the industry forward?
Well, I think we creative folks are as driven as we are inspired by competition. And I’ve always thought that is a great thing. It’s also, by its nature, the very ladder on which many of us earn our stripes and advance our careers. Being recognised at the highest levels creatively, isn’t just a nice pat on the back.
I think we creative folks are as driven as we are inspired by competition. And I’ve always thought that is a great thing.
For some, it can define a career, and for others, it can even change the course of their life. I’ve also found that the average creative person in our industry cares deeply about what they do and (because we put so much of ourselves into what we do) they care as much about what others think about it too. And in a business that can sometimes feel a little quiet and isolated (I think we felt that acutely during the pandemic), competition and recognition change that somewhat.
Shows might continue to evolve, but in many ways, people don’t. I think they will always crave the respect, admiration, and in many cases, validation of their peers. Sure, it might feel a bit like a merry-go-round sometimes, in terms of the ever-revolving yearly awards cycle, but it really does keep the average creative and their business focused on the future and pushing hard to do their next great thing. And I wouldn’t have it any other way.
Are there any recent campaigns from your agency that you’re particularly proud of?
So many things! I’m very lucky to be able to work across 25+ agencies in Publicis Groupe down here in ANZ. So, there is always an abundance of stuff that keeps me on my toes and inspired. I feel a bit like a cat where someone is wielding a laser pointer. But, are a couple of things that I’m excited about right now:
HAVEN – Suncorp Insurance
A first-of-its-kind digital tool informed by natural peril data and tailored property insights that helps Australian homes ‘talk’ to their owners about the extreme weather risks they face, and how to take proactive steps to protect it.
And…
Turning the country into one big Toyota ad – TOYOTA
By planting the idea that with 1 in every 4 cars in New Zealand being a Toyota, the country is essentially one big Toyota ad.
What piece of work — from any agency, any era — has stayed with you and continues to shape how you think about creativity?
The truth is…SOOOOOO many pieces of work. I would genuinely struggle to narrow it down. Okay. So, brace yourself for terrifying pixelation on YouTube, and because of my age, some grainy 4:3 video (read “old television ratio” for anyone under about 35). But, at a push, one thing I always wished I had done was the Counterfeit Mini campaign out of Crispin Porter Bogusky. That still sticks in my mind. To launch an anti-counterfeit commission, that released a DVD, that highlighted the cause, dragging people right into their storytelling world only made the Mini brand even more magnetic.
It really broke new ground in every sense. It was a radically different shape than anything that came before it. It was part guerrilla campaign, part media-idea. It had depth. It engaged people. And it also hijacked the dominant technology of the day to great effect. And I don’t think anyone saw it coming.
I still love ideas like that, that shatter any preconceptions of how a category or brand should behave. That invites audiences in and treats them with respect, or even just a knowing wink. I think, equally, at the other end of the spectrum, I still have a real soft spot for some of the incredibly strong writing we’ve seen over the years.
Back when I was starting out, almost anything Cliff Freeman put out into the world was sheer magic on that front. I still get extremely jealous when I think about the Fox Sports work they put out back in the day. I wish I had done that.
And I’m still always keen to push my creatives on craft. When you get that right, you’re indelibly etched into people’s minds. (I feel like reviewing that Fox work, maybe it also inspired Borat some years later).
Quick Hits
A useful app or tool you’ve started using recently:
I’m increasingly a fan of downloading local radio apps from places I’m about to visit. I’m hitting New Orleans later this month, and I’m currently listening to WWOZ to tap into the vibe ahead of time. It also cheekily feels like the holiday started early. Would recommend.
Book, podcast, or resource you recommend:
The Fela Kuti – Fear No Man podcast would be my current top pick. It’s the definitive exploration of one of Nigeria’s greatest musicians, politicians and activists that is as relevant today as ever – seeking to answer the question “In a world that’s on fire, what can art actually do?” I challenge anyone to listen to it and not fall deeper in love with creativity and those who chase it.
Something you want to learn or get better at:
Oh damn. “Everything” would be my one-word answer. But, closer to work, I’d love to get better at inspiring creativity and helping lead creative people. Outside work, I’d love to learn more about photography and would love to be a better DJ and a better cook. But, I suspect I’m only destined to be a better cook. Time will tell.
This was done in collaboration with NY Festivals. To learn more about the New York Festival Advertising Awards, visit here.
