David Mackenzie Ogilvy, the son of Francis John Longley Ogilvy, was born at West Horsley, Surrey, on 23rd June 1911. He attended St Cyprian's School, Eastbourne before winning a scholarship at thirteen to Fettes College, in Edinburgh. In 1929, he won another scholarship to Christ Church College. However, he left Oxford University without taking a degree in 1931.
According to his biographer, T. A. B. Corley: "His sense of self-doubt and insecurity, which often expressed itself in boastfulness, sprang partly from sibling and adult depreciation of him as the youngest child, and in part from an early realization that he could never match the academic and other accomplishments of his father and brother, Francis... That débâcle (of leaving university) was probably due to a recognition that for him it had to be first class or nothing."
Ogilvy became an apprentice chef in the Majestic Hotel in Paris. He wrote in the Confessions of an Advertising Man (1963): "That was in 1931, the bottom of the depression. For the next seventeen years, while my friends were establishing themselves as doctors, lawyers, civil servants, and politicians, I adventured around the world, uncertain of purpose." After a year, he returned to Scotland and started selling Aga cooking stoves, door-to-door. His success at this marked him out to his employer, who asked him to write an instruction manual, The Theory and Practice of Selling the AGA Cooker , for the other salesmen. His biographer has pointed out: "This unpublished Aga saga wittily and acutely demonstrated his early interest in statistics (only 10,000 Aga owners in 12 million British households), lists (selling points and likely objections to overcome), and the psychology of doorstepping a client (choosing the most favourable time of day, carefully studying the householder's circumstances)." It included the comment: "The good salesman combines the tenacity of a bulldog with the manners of a spaniel. " His older brother, Francis Ogilvy, showed the manual to management at the London advertising agency Mather & Crowther where he was working. They were so impressed that they offered the younger Ogilvy a position as an account executive.
In 1938 Ogilvy to study the advertising market in the United States. The following year he resigned from the company and married Melinda Street, from Virginia. He was now employed by the Audience Research Institute, that had been set-up by George H. Gallup in New Jersey. Ogilvy later claimed that it was the luckiest break of his life "as it furnished him with immeasurably useful knowledge about the techniques of marketing research, as well as about what made United States citizens really tick".
Winston Churchill became prime minister in May 1940. Churchill realised straight away that it would be vitally important to enlist the United States as Britain's ally. Randolph Churchill, on the morning of 18th May, 1940, claims that his father told him "I think I see my way through.... I mean we can beat them." When Randolph asked him how, he replied with great intensity: "I shall drag the United States in." Churchill appointed William Stephenson as head of the British Security Coordination (BSC).
As William Boyd has pointed out: "The phrase (British Security Coordination) is bland, almost defiantly ordinary, depicting perhaps some sub-committee of a minor department in a lowly Whitehall ministry. In fact BSC, as it was generally known, represented one of the largest covert operations in British spying history... With the US alongside Britain, Hitler would be defeated - eventually. Without the US (Russia was neutral at the time), the future looked unbearably bleak... polls in the US still showed that 80% of Americans were against joining the war in Europe. Anglophobia was widespread and the US Congress was violently opposed to any form of intervention." An office was opened in the Rockefeller Centre in Manhattan with the agreement of President Franklin D. Roosevelt and J. Edgar Hoover of the FBI.
One of Stephenson's first recruits was David Ogilvy. This enabled the BSC to "penetrate" the Gallup organization. Ogilvy later recalled: "I had been moonlighting as advisor to the British government on American Public Opinion, but it was time I played a more active part... I could not have had a better boss than Dr. Gallup. His confidence in me was such that I do not recall his ever reading any of the reports I wrote in his name. Once he had worked out the methodology of the research, he lost interest and moved on to something new."
He was helped in this task by Hadley Cantril, who was secretly working for President Franklin D. Roosevelt. One of his tasks was to persuade Gallup from publishing polls considered harmful to the British. As Richard W. Steele has pointed out: "public opinion polls had become a political weapon that could be used to inform the views of the doubtful, weaken the commitment of opponents, and strengthen the conviction of supporters." William Stephenson later admitted: "Great care was taken beforehand to make certain the poll results would turn out as desired. The questions were to steer opinion toward the support of Britain and the war... Public Opinion was manipulated through what seemed an objective poll." According to Thomas E. Mahl, the author of Desperate Deception: British Covert Operations in the United States, 1939-44 (1998): "BSC persuaded Gallup... to drop the results of questions that reflected poorly on the British cause."
Michael Wheeler, the author of Lies, Damn Lies, and Statistics: The Manipulation of Public Opinion in America (2007): "Proving that a given poll is rigged is difficult because there are so many subtle ways to fake data... a clever pollster can just as easily favor one candidate or the other by making less conspicuous adjustments, such as allocating the undecided voters as suits his needs, throwing out certain interviews on the grounds that they were non-voters, or manipulating the sequence and context within which the questions are asked... Polls can even be rigged without the pollster knowing it.... Most major polling organizations keep their sampling lists under lock and key."
From 1946 onwards he lived with his wife and young son as a farmer in Lancaster County, Pennsylvania, close to the Amish community. However, it was not a success and in 1948 he joined forces with his brother to set up a New York City agency, Hewitt, Ogilvy, Benson & Mather (later Ogilvy & Mather) with capital of only $6,000. T. Corley has pointed out: "The late 1940s happened to be precisely the time when the American advertising scene appeared to be ripe for a shake-up. The United States economy was forging ahead at such a pace as to make sellers complacent about publicity. In consequence, those in the know deplored the general lack of creativity among the industry's practitioners. Advertisers chose to offer safe and uninspired copy rather than striving after originality and distinctiveness. Ogilvy and his American contemporary William Bernbach were credited with being the pioneers of that revolution."
Ogilvy's first great success came with his campaign for Hathaway Shirts, featuring a man with an eyepatch, Baron Wrangell. He accompanied that striking image with five paragraphs of detailed copy. Burt Helm has pointed out: "The result, an ad featuring a slender, haughty, mysteriously one-eyed male model in a white dress shirt accompanied by a lengthy description of the shirt's benefits, soon appeared in The New Yorker. American men were intrigued. Within a week, C.F. Hathaway's entire stock sold out." The campaign was selected by Advertising Age as 22nd on its list of the greatest ad campaigns of the 20th Century.
In 1953 Schweppes entered the soft-drinks market in North America. Ogilvy persuaded Schweppes' overseas director, Commander Edward Whitehead, to pose for the advertisements. It was such a success that Whitehead became the second most widely recognized Englishman in the United States, after Winston Churchill. In 1957 Ogilvy took over the Rolls-Royce account and created the famous phrase: "At 60 miles an hour the loudest noise in this new Rolls-Royce comes from the electric clock", but once again he set out the car's bull points at length below this heading.
When Ogilvy read an early draft of The Quiet Canadian (1962) he requested that William Stephenson put pressure on H. Montgomery Hyde to remove all references to George H. Gallup and Hadley Cantril: "I beg you to remove all references to Hadley Cantril and Dr. Gallup... Dr. Gallup was and still is, a great friend of England. What you have written would cause him anguish - and damage. One does not want to damage one's friends... In subsequently years Hadley Cantril has done a vast amount of secret polling for the United States Government. What you have written would compromise him - and SIS (MI6) does not make a practice of compromising its friends."
Ogilvy's book, Confessions of an Advertising Man (1963), sold over 400,000 copies and made him the only advertising figure whose reputation went far beyond that of the industry. It included a great deal about his work with George H. Gallup. For example: "Dr. Gallup is a fountain of useful information on how people react to different kinds of commercials. He tells us that commercials which start by setting up a problem, then wheel up your product to solve the problem, then prove the solution by demonstration, sell to four times as many people as commercials which merely preach about the product. Gallup also reports that commercials with a strong element of news are particularly effective. So you should squeeze every drop of news value out of the material available for your commercials.... Gallup has discovered that the kind of photographs which win awards from camera clubs - sensitive, subtle, and beautifully composed - don't work in advertisements. What do work are photographs which arouse the reader's curiosity... He glances at the photograph and says to himself, What goes on here? Then he reads your copy to find out. This is the trap to set."
Ogilvy was appointed CBE in 1967 and in 1973 he retired as chairman of Ogilvy and Mather International, and moved to France, where he had bought a 60-bedroom Château de Touffou, near Poitiers. An autobiography, Blood, Brains and Beer, was published in 1978. In the book he argued that his advertising strategy began with the fundamental notion: "The consumer is not a moron. She is your wife. Try not to insult her intelligence". This was followed by the book, Ogilvy on Advertising (1983).
During the final year of his life Ogilvy suffered from Parkinson's disease, and he died at Château de Touffou on 21st July 1999. He was survived by his wife, and by his only son.
I had been moonlighting as advisor to the British government on American Public Opinion, but it was time I played a more active part... Once he had worked out the methodology of the research, he lost interest and moved on to something new.
Dr. He glances at the photograph and says to himself, "What goes on here? Then he reads your copy to find out. This is the trap to set.
Harold Rudolph called this magic element "story appeal," and demonstrated that the more of it you inject into your photographs, the more people will look at your advertisements. This discovery has had a profound effect on the campaigns produced by my agency.
When I worked for Dr. Gallup, I was able to demonstrate that moviegoers are more interested in actors of their own sex than in actors of the opposite sex. True there are a few exceptions to this rule: the female sex-kittens find great favour with male moviegoers and the lesbian stars do not appeal to men. But in general, people take more interest in movie stars with whom they can identify. In the same way, the cast of characters in most people's dreams contain more people of their own sex than of the opposite sex. Calvin Hall reports that "the male-female character ratio in male dreams is 1.7 to 1."
Dr. So you should squeeze every drop of news value out of the material available for your commercials.
It is important to admit your mistakes and to do so before you are charged with them.
Tell the truth, but make the truth fascinating.
In 1951, on the way to an advertising photo shoot for a small shirt company based in Waterville, David Ogilvy picked up several eye patches at a drugstore for 50 cents each. "Just shoot a couple of these to humor me," he told the photographer. The result, an ad featuring a slender, haughty, mysteriously one-eyed male model in a white dress shirt accompanied by a lengthy description of the shirt's benefits, soon appeared in The New Yorker. Hathaway's entire stock sold out.
"The Man in the Hathaway Shirt" became a national sensation, made Ogilvy famous, and epitomized what would become known as his trademark approach: stylish, alluring print ads that spoke directly about the product and its benefits. In The King of Madison Avenue: David Ogilvy and the Making of Modern Advertising, Kenneth Roman offers an entertaining and admiring portrait of the legendary figure behind what became Ogilvy & Mather Worldwide, an agency that continues to have such prestigious clients as American Express (AXP) and Unilever (UN). Roman, who worked at Ogilvy's side from 1963 until 1989, rising from junior account executive to company chairman, paints the proudly Scottish ad man as a tireless worker driven by his taste for "lucre," as he termed it, a desire that proved a curse. The author sometimes dives too deep into advertising theory and offers a too lengthy argument for Ogilvy's lasting influence. But his many entertaining yarns delivered in spare prose are a pleasure to read.
Ogilvy left Oxford at 20 in 1931 in the midst of the Great Depression, taking a position in the kitchen at Paris' tony Hotel Majestic. It was the first in a motley series of occupations: By 1948, when he started his fledgling New York agency, Ogilvy had been a sous-chef, an advertising trainee, a door-to-door salesman for Aga stoves, a researcher for George Gallup of Americans' opinions about movie stars, an Amish-country farm owner, and, during World War II, a spy for British military intelligence. His cloak-and-dagger colleagues included Cary Grant, David Niven, and authors Noël Coward and Roald Dahl, and his boss was Sir William Stephenson, a man Ian Fleming would claim was the model for James Bond.
David Ogilvy on Advertising: his 7 commandments and quotes all Marketers must know
Advertising is an ancient art, but don’t even think about calling what David Ogilvy does, “art”.
He was born on June 23, 1911 in West Horsley, England. He decided to migrate to the United States, more specifically New York. There he became a copy-write legend, creating hundreds of effective and powerful headlines that to this day retain their power.
David Ogilvy is the most famous publicist and his lessons are still as relevant today as they were when he opened the doors of his agency Ogilvy & Mather in 1948. He understood the nature of the role of marketing and advertising to the point of being able to conclude with that quote:
advertising is not an art form, it’s a medium for information, a message for a single purpose: to sell.
When I write an advertisement, I don’t want you to tell me that you find it ‘creative.’ I want you to find it so interesting that you buy the product.
This quote is from his book “Ogilvy on Advertisement“, which by the way is excellent and I recommend reading it. If you’re interested, you can download a version of it here.
Although “Ogilvy on Advertisement” was written in 1983, (yeah, I know, sounds almost prehistoric and so without the internet!) Don’t think even for a second that all that he introduced to the world of advertising is no longer being used today. His lessons are timeless in marketing, including the new challenges of the era of Social Media.
The same “Ogilvian” techniques that worked in the 70s can be applied today in current ads, blog headlines, website marketing, e-commerce, and YouTube channels. For some reason, they say that the ideas of geniuses transcend time. These 7 Commandments will demonstrate that the ideas of the most influential publicist in the market are eternal and with good reason! Let’s start to apply them by studying Commandment #1! (if David Ogilvy says it, believe
These 7 Commandments will demonstrate that the ideas of the most influential publicist in the market are eternal and with good reason! Let’s start to apply them by studying Commandment #1! (if David Ogilvy says it, believe me, its worth it!)
Ogilvy described his professional career in Confessions of an Advertising Man (1963). Blood, Brains and Beer: The Autobiography of David Ogilvy (1978) provided the personal details. In Ogilvy on Advertising (1983) the master surveyed the contemporary scene. The Unpublished David Ogilvy was released in 1988. Ogilvy's achievements were placed in historical perspective in Stephen Fox, The Mirror Makers: A History of American Advertising and Its Creators (1984). His most famous advertisements are reproduced and analyzed in Robert Glatzer, The New Advertising: The Great Campaigns from Avis to Volkswagen (1970). □
Lessons for today&rsquos promoters
I think Ogilvy brought a modern touch to advertising that really made his work stand out -- and also made it tremendously effective. Many of the copywriters I work with do just as he said: they spend as much time as necessary researching before they ever start writing.
Very often the facts themselves lead to the big idea that will really sell the product. It&rsquos the perspiration of research that gives rise to the creative inspiration. Smart advertisers put this into practice. One company I know hires entry-level copywriters to spend the first year or two only doing research. They don&rsquot write one word of copy until after they master researching the subject area they&rsquore going to be working on. Ogilvy understood the value of this, and once again, he was ahead of his time.
We should also remember to always deal in facts. Especially today, consumers are wary of empty claims that seem to have nothing to back them up. In promoting your product or service or yourself, be sure to provide fact after fact that explains why you&rsquore the best.
And of course, Ogilvy was a pioneer in claiming that testing is everything. That&rsquos the only way to arrive at the best ad, sales piece, website copy or Facebook post that will get you the best results.
Anthony Kalamut Toronto/New York Professor/Program Coordinator/Chief Enthusiasm Officer of Creative Advertising at Seneca College in Toronto. The Creative Advertising program focuses on the strategic planning and creative concept development of advertising. As a former award winning Creative Director working on national brands in both Canada and the United States helped to develop my personal passion for nurturing and motivating new young talent. My idea of this comes from Karma and the following quote: “A life is not important except in the impact it has on other lives.” View my complete profile
About A View From An Adguy
I wasn't sure I would ever get into this blogging thing. ever. But the time has come and here is the home of my thoughts, advice, references, tales, passion and feelings on advertising and the life involved within.
When I decided this was to be a "new" method or additional "voice" to my teaching, motivating and inspiring for my students and friends, my first thoughts turned immediately to time.
TIME! Something we all value and never seem to have enough of. That will be my guide. TIME. I will use mine wisely and respect yours, making the post relevant and timely.
So welcome. Spend some of your valuable time here hopefully to learn, share, be inspired, and maybe even entertained.
“Don’t bunt. Aim out of the ballpark. Aim for the company of immortals.” — David Ogilvy
To refresh your memory, these are David Ogilvy’s 7 principles of marketing:
Incidentally, this seems like an appropriate place for a full-fledged pitch. If you want to:
have a clearer idea of your ideal customers,
nail your brand definition,
develop a visual identity system (and marketing materials, like a website) that is easily extendable and congruent with the brand image you’re trying to cultivate, then…
I am your guy. I am great at what I do, and I want to work with others who are great at what they do. If that’s you, hit me up.
About Jon Persson
Brand strategist, identity designer, and owner of CultMethod. I help small business owners create brands that attract customers and command premium prices.
Enjoy this post? Connect with me on Twitter!
HISTORY's Moment in Media: David Ogilvy, the Father of Modern Advertising, Dies in July, 1999
This summer marks 20 years since the world lost the “Father of Advertising,” David Ogilvy, who died on July 21, 1999. Along with Bill Bernbach, who was also a competitor, Ogilvy was a leader in the postwar transformation of his business, which saw ads shift from boring and repetitive boasts about a product’s attributes and utility to creative, often whimsical evocations of what a product could accomplish. “You cannot bore people into buying your product,” he once said. “You can only interest them in buying it.”
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Will Any Agency Hire This Man?
He is 38, and unemployed. He dropped out of college.
He has been a cook, a salesman, a diplomatist and a farmer.
He knows nothing about marketing and had never written any copy.
He professes to be interested in advertising as a career (at the age of 38!) and is ready to go to work for $5,000 a year.
I doubt if any American agency will hire him.
However, a London agency did hire him. Three years later he became the most famous copywriter in the world, and in due course built the tenth biggest agency in the world.
The moral: it sometimes pays an agency to be imaginative and unorthodox in hiring.
Even in retirement, he continued to change the direction of the agency.
That same decade, he briefly came out of retirement to run Ogilvy & Mather in India, as well as in Germany.
WPP commenced a hostile takeover of the Ogilvy Group in 1989, effectively making the firm the largest marketing communications company in the world. Ogilvy was named the company’s non-executive chairman, a position he held until 1992. Initially, he despised Sir Martin Sorrell, WPP’s founder, but later the two struck a close friendship. “When he tried to take over our company, I would liked to have killed him. But it was not legal. I wish I had known him 40 years ago. I like him enormously now,” Ogilvy said, only half joking.
David Ogilvy died on July 21st, 1999. He was 88 years old.
Still, he continues to have a tremendous impact on the advertising industry, thanks to the four elements that defined his work: emphasis on the ‘Big Idea’, achieving professional discipline, valuing the importance of research, and delivering actual results for his clients.
A look through history: Ogilvy hits half a century
Ogilvy first opened its doors in Australia in 1967 with no clients and very little money. Founded by Michael Ball and David Ogilvy here and originally called Ogilvy & Mather, the agency was only open for a few months before it landed the American Express account – a client it still retains today.
Ogilvy & Mather started as a London agency founded in 1850 by Edmund Mather, which in 1964 became known as Ogilvy & Mather after merging with Ogilvy's New York agency in 1948.
Now, Ogilvy Australia is on the brink of celebrating its 50th birthday with a 430 staff, three offices across Sydney, Melbourne and Brisbane, four different business units under the Ogilvy umbrella and a client list that many agencies would be envious of. Not to mention a spate of awards from across its half a century of operation.
The agency has undergone a lot of changes in its 50 years, including a series of name changes and two mammoth mergers: the first with John Singleton Advertising in 1997 to become Singleton Ogilvy & Mather and the second at a holding group level with WPP and Ogilvy’s holding company, STW, last year.
But if you ask current CEO David Fox, the biggest changes have happened at the agency in the last five years.
“The legacy and history that comes before my tenure at Ogilvy means the [CEO] job comes with certain responsibility. The opportunity, while it’s important to retain Ogilvy’s heritage and what it stands for, is to reinvent the agency. My job has been to build the business for the next 10-15 years. We have big clients in our portfolio that we’ve had for a long time so I don’t take that lightly,” Fox says.
Fox, best known in the industry as ‘Foxy’, has spent almost his entire career at Ogilvy, dating back to his first gig as an account director at then Singleton, Ogilvy & Mather in 1999.
Working his way up the Ogilvy ladder, he has held roles in both Australia and the UK, returning to Sydney three years ago to take on the CEO role, replacing Andrew Baxter.
A story about Ogilvy & Mather's growth from the AdNews archives
While Fox is proud of the agency’s history and celebrates its legacy strength, he has looked at ways for the business to improve and not be left behind by the speed of newer agencies.
He admits the way the business was originally structured and its perception in the Australian market has held Ogilvy back in recent years. Overseas it is a juggernaut.
"Jokingly we used to call the agency ‘Slowgilvy’. Our perception as a big, slow, global, corporate ad agency that doesn’t get out of bed for under $200,000 is a challenge for us. But it’s rubbish,” Fox says.
In a bid to make the agency more nimble, Ogilvy axed its 14 different P&L’s within the business in 2015 and put an end to outsourcing – a move that has also been replicated by Clemenger, Publicis, Dentsu and Havas.
"We radically changed our model from being splintered, irrelevant and slow to a new fit for purpose one P&L model with fully integrated practice areas delivering good work for big clients at speed,” Fox says.
“We are far from perfect of course and there is always room for improvement however we have started the journey at pace. As a result we had very strong growth nationally in 2016 which is the first time in a long time. So it is possible to change and we are working hard to make ourselves matter to clients in a modern way."
Fox says it’s easy for legacy agencies to be left behind due to their size and their inability to move at speed and for newer agencies, which are built for specific purposes to thrive.
“These ‘built for purpose’ agencies will, however, need to evolve again in the mid-term as clients look for one stop solutions versus a roster of many agencies which is getting too expensive and too difficult to navigate in a splintered media world,” Fox says.
“The question for me is not who will win, the question is who will survive and I think there are some shocks coming if some legacy agencies and their leaders don’t start putting out the burning platform heating up beneath them.”
One of the first print ads for Amex from Ogilvy in AdNews
Now the P&L’s have been stamped out, next on the agenda is introducing a marketing automation platform, which Fox describes as “the missing piece” for Ogilvy.
“We need as an agency to understand marketing automation. We are good at some platforms but we need to get better and broader, so we will look at a joint-venture or an acquisition in that space,” he says.
“We are eyeing platforms where we can engage clients and customers at speed through CRM programs. That’s our heartland. The world has moved on and we can no longer get away with not having these marketing platforms in place. We need a better way of managing them to remain relevant to our clients.”
By introducing a marketing automation tool, Fox says Ogilvy is taking a step toward ending the “greatest hypocrisy” in advertising.
“The greatest hypocrisy is we tell our clients they have to be incredibly efficient and have a fluid CX model, but agencies haven’t changed their CX model in 50 years. We’ve gone from telephone to email to text, but that’s about it. We need to make it easier for clients to work with us,” Fox says.
“As a result, this year we are looking to change our CX operating model for how our clients work with us. In the past, we haven’t used technology as an enabler but now we are focusing on how we speed up the bits that doesn’t need labour.”
Fox says a big mistake agencies make is thinking a client’s only job is to manage their agency, when in fact dealing with their agency is only a small part of their role.
To mark the next stage of Ogilvy, the agency has moved from its offices to Millers Point. See all the pictures in the gallery at the end of this story.
1970s: The Sheridan linen ad that almost ended Liberal Party star Andrew Peacock’s career
1980s: Karl Madden for American Express
1990s: Australia Home for Qantas
2000s: Let’s Build a Smart Planter for IBM
2010s: Share a Coke for Coca-Cola
2010s: Rhonda & Ketut for AAMI
2017: Shut up and take my money for KFC
“Creatively we have a long way to go”
Ogilvy Australia has created iconic Australian advertising for Qantas, Coca-Cola, IBM, AAMI and more in its 50 years.
The agency boasts some of the longest client relationships in the industry, including Amex (50 years), IBM (25 years), KFC (25 years), BWM (25 years), Coca-Cola (13 years), Kimberly- Clarke (19 years) and AAMI (17 years).
For the last four years Ogilvy & Mather has been named the Network of the Year at Cannes Lions. This year it placed second to BBDO Worldwide.
But while Ogilvy Australia’s work has been heavily awarded in the past, Fox admits it hasn’t contributed enough to the network’s winnings as the fifth biggest agency globally.
“Creatively we have a long way to go. We aren’t there yet. We are punching well below our weight in the creative area,” Fox says.
This year's Cannes Lions was the best in Ogilvy Melbourne’s history, scoring an impressive seven gongs for AAMI Smartplates, including one gold, one silver and five bronze.
Prior to this year's Cannes Lions, Fox says Ogilvy Australia has been “under played” at award ceremonies.
Fox has changed his tune after this year's festival of creativity: “We won in categories in which we would have never entered three years ago like creative data and mobile. These are proof points that our new integrated model is really working one P&L with digital running through our veins and not a department.
“It's the perfect storm for us on an award - a brave client and not a gimmicky idea, fully integrated, real problem-solving and making a difference to culture.”
When AdNews spoke to Ogilvy Melbourne ECD David Ponce de León, he described the work as a “landmark campaign” and the first step towards the agency’s own transformation, signalling a more product-focused output in the future.
“AAMI is a great example of creating ideas that resonate with culture and help solve a problem in some way, shape or form,” Fox says.
“The future of our business is big brands looking at cultural problems and solving them using technology not just advertising.”
Most recently, Ogilvy Melbourne picked up the Cadbury Dairy Milk account from Saatchi & Saatchi. With some momentum and accolades behind Melbourne, and Sydney taking more duties on for Lion last year.
What's next for Ogilvy's evolution?
“I want the world to look at the legacy agencies and understand we are a force to be reckoned with in the future and we have a plan to continue to make our industry one that people want to work in not because we have bean bags, a bar and an Xbox, but because we give meaning to their careers now and in the future. I’m in, who’s with me?” Fox says.
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