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The agency world now needs to embrace unnovation.

We spend an immense amount of time wrestling with the importance of creating the new. But we also need to spend a little time reinventing the old.

I used the phrase Unnovation a year ago in reaction to the technological excesses of the digital world which risks becoming unhealthily obsessed with the bleeding edge. People are now so preoccupied with the opportunities presented by the Next Big Thing (Joost, Mobile TV) they barely pause long enough to consider the many overlooked possibilities of the last one. It's why I am a great fan of BT's CTO Matt Bross and his passion for "Innovation at the speed of life."

For instance, if we pause for a moment, we'll find there are still a thousand new services you could create using little more complex than SMS. Twitter would be a perfect example of this. Something that, in a way, is all the more brilliant because of its lack of technical ambition.

And it is surprising how often the most interesting examples of progress often occur through someone first taking a step back: what the French call reculer pour mieux sauter. It is, after all, how the fashion and design industries seem effortlessly to move forward by drawing inspiration from the past.  

Yet the area most in need of this approach may not lie in the digital field at all. I am thinking of press advertising - a discipline which seems to have painted itself into a corner whence further progress seems almost impossible: either the work is simply repurposed posters (in which case you squander almost all the engagement value of the medium) or else is excessively strange or mundane.

If a little more time were spent mining the work of Howard Luck Gossage (or just 1970s CDP, for that matter) some real progress could be made. And, maybe, just maybe, we might end up with the occasional advertisement which seeks - through reasoned, sensible, logical prose - to persuade us of the virtues of a product and why we should buy it, rather than endlessly seeking to solve every marketing problem through oblique visual reference.

Strangely we need this clarity and logic far more now than in the golden age of long copy advertising. Brand and product opinion is now so ubiquitous - in magazine journalism, online and on TV - that the signal-to-noise ratio has become absurd. The occasional reasoned piece of prose in a press advertisement might provide a welcome note of calm good sense.

All Comments

  June 11, 2007

I guess you could add many other advertising disciplines to the list of those that have lost their way a bit recently. TV advertising for instance. How often do you ever see one and think 'that was a good use of money'. So much communication seems to simply 'exist' these days. But isn't there another point - that digital (as it was always going to do) has disrupted the functionality of media - sort of buggered them all about a bit. And the dust hasn't really settled yet. So the question of 'can press ads still do what they used to' is a hard one to call - we consume media and messages in such dysfunctional ways these days that you suspect the very purpose of press advertising might even change in the future.

  June 14, 2007

I agree with this point of view, I think that much of the industry's energy at the moment is spent on looking to the future, which automatically means looking at technological and interactive media. I also agree that much of the current mass media that is put into market today is of an average quality at best, and often shows little understanding of how each medium is consumed by real people. I believe that this is because traditionally the startpoint for all media creative has been the TV script. The last ten minutes of the creative pitch to the client being an explanation of how the TV idea can be translated into other mediums. It is rare to see a creative idea that is presented in a medium or channel neutral way. There are of course some agencies that can deliver this, but not many. For this reason many multimedia campaigns are not different representations of a creative idea, that marry with the consumer consumption insight of each respective medium, indeed they are more often than not a mediocre translation into other channels of what was initially a 30" script. For communicaions to develop, irrespective of media platform (print, ambient, iTV whatever) brands need to have a point of view, something to say and creative ideas that are excellent because of their relevance to the consumer and their ability to adapt into the channels that are consumed actively by the consumer.

  June 21, 2007

Wrote 1500 not entirely incompetent words for a Chivas Regal ad last year. Had it art directed. Looked bloody good. But if I'd photographed a turd and set it on the page I think I would have got more support.

  July 9, 2007

Then you must have missed the iPhone spots. The agency-quality ones that caught your attention onTV, that people sent in emails and still looked great in YouTube, that social groups posted links to demos, that stores let people feel and touch-- and hung life like psters in the windows where crowds peered after hours, and the web offered in depth understanding. This is pure Gossage, brilliant in its simplicity yet reminding them of a problem, offering a solution, telling them where to go or what to do next and if you needed a cause as a reason to buy now- it's because I gotta have it. It's customer-centric- it's not about the lighting or the models or the neat effects... it's about making the product easy to understand and want to buy. We forget it's our job to create demand... we've turned this over to the consumer and they don't do it well. Compare to Windows Vista with it's building covers and climbers that left you with no sense of why this is about you-- why you should want to be the first to have it. Everything in the Apple store, site and spots is insync and on message. It's the old rules more broadly applied.

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