Archive for the ‘Events’ category

Waste-Off and LCC’s Museum of Reinvention

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The Museum of Reinvention, Waste-Off, LCC, 2015.

This week marks the conclusion of the cross-University Waste-Off Challenge, a  project to give waste new value and help promote material reuse and sharing. As part of this the Museum of Reinvention is being exhibited at LCC.

Waste-Off was launched at the end of last year by the UAL research hub Conscientious Communicators with support from Stephen Reid, Deputy Vice Chancellor of UAL, who saw the project as an opportunity to “harness the passion to drive forward change”.

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The Museum of Reinvention, Waste-Off, LCC, 2015.

Teams comprised of students, academic and technical staff came together to collect material waste and via studio working and workshops facilitated by design-maker and UAL alumnus Jan Hendzel, created collaborative inventions.

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The Museum of Reinvention, Waste-Off, LCC, 2015.

The result was the generation of diverse and inventive projects from across London College of Communication, Central St Martins, Camberwell and London College of Fashion.

LCC students, staff and alumni created  two cabinets of reclaimed, up-cycled and reinvented objects – to act as a permanent showcase of inspirational examples, teaching tools and unexpected ‘creative curiosities.’ The aim was to demonstrate that salvaged items can have greater value, character and potential than virgin materials.

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The Museum of Reinvention, Waste-Off, LCC, 2015.

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The Museum of Reinvention, Waste-Off, LCC, 2015.

Sarah Temple and Tara Hanrahan, who conceived and managed the project, explain: “We wanted people to explore the creative potential of the discarded! To show by example what is possible and through this activity help establish practical processes for staff and students to share resources and avoid contributing to landfill.”

Find out more about Conscientious Communicators here.

 

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BA (Hons) Advertising student premieres romantic drama Handle with Care at Cineworld

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Handle with Care (2015) in production.

Third-year LCC student Tope Phillips has just completed his second feature Handle with Care, a British romantic drama exploring the highs and lows of love and friendship within a circle of five twenty-somethings living in London’s evolving suburbia.

The film touches on issues faced in contemporary relationships including interracial dating, serial daters, the challenges of commitment and many others, premiering recently at Cineworld Canary Wharf.

Watch the trailer //

We caught up with Tope to find out more about his work.

How did you first get into filmmaking?

I have always had an interest in films and writing, however I first got into filmmaking in my first year of university. I discovered I had a flair for filmmaking after I worked on a couple of projects.

One of my old friends Josh Bridge then contacted me, after seeing some of my work, about teaming up and creating films together at the end of 2012. We got together with the same vision and we have created two films together [the first was Squeeze, which premiered at Cineworld Chelsea].

What do you most enjoy about the process as a whole?

I enjoy every part of filmmaking, from the writing and developing of the storyline and scripts, to the audition, meeting and getting to know the actors during the rehearsals, and selecting locations for filming.

I also really enjoy the production and all the technical aspects of filming such as lighting, selecting the lenses and using different equipment on set such as the rigs and mini-cranes, and the post-production aspects such as editing, selecting the film soundtrack, designing the posters and then promoting the film.

Seeing the whole plan come together was very rewarding, however I would say my favourite part of the process was the production. This was the most rigorous, however also the most rewarding.

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What has so far been the biggest challenge?

The biggest challenge was during the production of the film, we had really long days with some days starting shooting at 9am till 3-4am and resuming filming the next day at 9am.

We also had really big scenes like a scene at a comedy club where we had over 50 extras, so we had to be really organised in order for things to run smoothly.

Handle with Care is about dating in London – obviously there are a lot of films exploring this area, so what did you particularly want to address in your own film?

We made sure this film wasn’t like the typical romantic comedy/drama with the typical fairytale ending.

We made sure the characters were real and relatable and touched on many issues in young people’s relationships today such as interracial dating when parents and other parties may not approve, relationships where one party is eager to get married whilst the other isn’t, serial dating and the impacts it has, and lots more.

We also focused it on a group of friends so we could tell multiple stories at the same time.

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Behind-the-scenes moments during shooting.

You’re currently studying BA (Hons) Advertising – how do you think this has helped your filmmaking?

Studying advertising gave me a can-do attitude, it definitely helped me in seeing things from different point of views.

Advertising involves a lot of planning and developing ideas which is essential in filmmaking. My lecturers helped to keep me motivated and encouraged me to pursue filmmaking.

What’s next for you?

Hopefully I can carry on making films on a bigger, better scale in the future. I also really like advertising so I might work in the advertising industry for some time.

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Third-year BA (Hons) Advertising student and filmmaker Tope Phillips

Visit the Handle with Care website

Read more about BA (Hons) Advertising

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Review // PR Guest Lecture: Anaïs Hayes, Google UK

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Second-year BA (Hons) Public Relations student Mary Davoudi reports on LCC’s recent PR Guest Lecture by Google UK’s Head of Brand Development, Anaïs Hayes.

Anaïs’s engaging speech shared her extensive insights from Google on how technology is changing marketing communications and reorganising brands and businesses.

She reminded us that the rise of technology today is the slowest it has ever been, and it is only going to speed up, as the 2.8 billion people who are online now are expected to at least triple in the next five or six years.

She compared it to Moore’s Law and stated that every single year the number of connections we can fit into a device will double. Not only will it get faster but also smaller and a lot cheaper.

She shared the amazing fact that mobile data in 2014 was 12 times the size of the entire internet in 2000. She reminded us that access to connections is also getting much more global and there are 10 billion devices worldwide; more people have access to a mobile device than a toothbrush!

Anaïs introduced the concept of instant gratification: how as consumers we will wait only two seconds for a webpage to load. Linked to this, it is not only the device or the message that matters, but the speed of the message. If, in those two seconds, the page is not loading, we immediately go to a competitor’s website.

As a result consumer behaviour can be understood by a completely different www acronym. It is not world wide web anymore, it is ‘what I want, where I want, when I want it’ – and if I can’t have that I will go somewhere else.

Baking speed into every concept you present to a client is crucial, Anaïs reminded us. According to her, businesses that support this are the businesses that succeed. Success is now based around ease, fluency and service.

Anaïs also discussed YouTube being not just a digital platform but the largest focus group in the world, where people will comment, like and view things and let your brand know what they like in real-time. As a public relations practitioner or a brand marketer, you can react to these changes immediately.

She highlighted an example of car brand Honda, who launched two different versions of their advert to see which one attracted more people. The one that got fewer views was taken down and all ad spend focused on the most successful one.

During her speech, Anaïs showed us a short video of a child playing with an iPad. In the next shot the child is seen playing with a magazine which she thinks is a touch screen iPad. Instead of turning the pages, she tries to touch them with her fingers.

The video demonstrated that we shouldn’t just be thinking about the current generation but focusing our expectations on future generations who have entirely different ways of thinking and behaving. As public relations practitioners we have to be ahead of the curve to advise our clients on these changes.

Anaïs also introduced another important concept for the future of communications and marketing: permission-based media.

It used to be that if brands showed you something frequently enough, eventually as a consumer you would buy it. Now, when an ad annoys you, you can avoid it.

As a result communications need to become permission-based. People don’t buy from brands. People buy from people. Brands need to work hard to understand how to do this to ‘hear’ consumer’s permission.

Anaïs finished her lecture by reminding us that in the 1920s, messages were presented on cinema screens metres away from us; in the 1960s to 1980s the message was in our living room via television. Then on our laptops and tablets.

Then we start becoming more personally involved and today we have wearable technology such as Google Glass. Is this the future of communications and marketing?

Studies show that the closer information is to cerebral cortex the more effectively it is processed, while it is predicted that in 2020 there will be 250 million wearable devices. What will this do to the discipline?

Words by Mary Davoudi

Read more about BA (Hons) Public Relations

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Jo Glover, Senior Graphic Designer at the V&A and LCC alumna, talks us through her designs for Alexander McQueen: Savage Beauty

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Savage Beauty Poster, Jo Glover, V&A, 2015.

The V&A’s record-breaking current exhibition, Alexander McQueen: Savage Beauty, is the first and largest retrospective of the late designer’s work to be presented in Europe.

LCC alumna Jo Glover, who graduated from BA (Hons) Graphic and Media Design in 2006, is Senior Graphic Designer at the V&A, and has been in charge of developing the design identity of the exhibition. Jo has been involved in every detail of the show from the selection of the lead image and designing the promotional campaign, to perfecting the details of the guides, leaflets and invitations.

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Savage Beauty, Jo Glover, V&A, 2015.

The exhibition will showcase McQueen’s visionary body of work. Spanning his 1992 MA graduate collection to his unfinished A/W 2010 collection, McQueen’s designs will be presented with the dramatic staging and sense of spectacle synonymous with his runway shows.

We caught up with Jo to find out more about her journey from LCC to the V&A.

So Jo, can you tell us a little bit about your role as senior graphic designer at the V&A? How did you get to this job, and what do you enjoy about it?

I got the job in 2011 after working at ad agency Wieden+Kennedy and doing my MA at the RCA. I also worked in branding for three years at Venturethree which helped with the more commercial work I do for marketing.

The job at the V&A combines the parts I loved from the advertising and branding jobs with my first job in the arts and cultural sector designing books for the likes of the RA. I love the variety of working on beautiful luxury print through to exhibition design and way finding. It never gets boring and is always a challenge.

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Savage Beauty, Jo Glover, V&A, 2015.

Can you explain your involvement in the Savage Beauty exhibition? What excited you about it and what you were nervous about?

I worked closely with marketing and press and the curatorial team to make sure we told the story of the exhibition through the print and digital campaign. I had to really fight for the very macabre savage image because it could be seen as intimidating but I think the lead image encapsulates the whole idea of both savage and beauty.

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Savage Beauty, Jo Glover, V&A, 2015.

So what was important to you in your approach to the designs for Savage Beauty?

In my approach to the savage beauty designs it was important to capture the slick high end luxury feel whilst retaining the darkness that comes through Lee McQueen’s work. We also really wanted to highlight the less known collections as well as the obvious ones. The events like the dinner are very high profile with a number of celebrity guests so we used lots of beautiful embossing, matte and gloss contrasts, and great paper.

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Savage Beauty, Jo Glover, V&A, 2015.

How would you describe your style and design sensibilities?

I’d say my style and design sensibilities are very pure, clean and quite classic but this obviously depends on the brief and market I’m working to. You have to be able to adapt and embrace styles that work with the audience or visitors you are targeting.

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Savage Beauty, Jo Glover, V&A, 2015.

How did LCC prepare you for life in the working world?

LCC prepared me so well for the working world because I did the industrial placement year where I got valuable experience from Elle magazine in London, the Chase in Manchester and Storm design in Melbourne, Block Branding in Perth and Principals branding and 2Birds design in Sydney. I also worked at Why Not Associates in London when I got back. This allows you to work out what you like and don’t like and also to travel and experience many different ways of working.

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Savage Beauty, Jo Glover, V&A, 2015.

Can you give one piece of advice for an aspiring graphic design student?

My one piece of advice would be to work hard, don’t be scared to make mistakes, and make lots of tea to get involved if you’re on a placement!

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Savage Beauty, Jo Glover, V&A, 2015.

Find out more about BA (Hons) Graphic and Media Design

Read Jo’s alumni profile

Find out more about Alexander McQueen: Savage Beauty and book tickets

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Research presentations on Exhibition Studies – 24 March

Paulo Nazareth, Noticias de America [News from the Americas], 2011–12 (Michelle Sommer)

Paulo Nazareth, Noticias de America [News from the Americas], 2011–12 (Michelle Sommer)

Tuesday 24 March 2015
Time: 10am to 1pm
Venue: CSM, Room KX D119

Presentations by 3 members of staff/visiting scholars:

Erika Tan (4D Pathway tutor at Central Saint Martins) will speak about her current research for her next film, focusing on ‘minor exhibition histories’ through the figure of a forgotten Malay weave/performer within the Empire Exhibition at Wembley in 1924.

Maria Iñigo Clavo (visiting research fellow in Exhibition Studies, from the University of São Paulo) will reflect on how to display history. What happens when you rub a work of contemporary art up against one from the colonial era, or against an ethnographic artefact?

Michelle Sommer (visiting PhD candidate in Exhibition Studies, from the Federal University of Rio Grande do Sul) will speak about her current research into contemporary practices of ‘errancy’ in Brazilian art, reflecting on artistic proposals for which being in motion is a fundamental condition. The leading question is: how to exhibit an art that escapes the frame of an exhibition, or how is it possible to write new exhibition narratives to discuss these artworks?

Places are limited, so please contact Dr Lucy Steeds if you are interested in attending:

Email: l.steeds@csm.arts.ac.uk

Further information about the CSM Research Group: Exibition Histories Practices.

Hammad Nasar: Navigating the Afterlife of ‘The Other Story’ – 14 April

Cover of the exhibition catalogue for ‘The Other Story’, Hayward Gallery, 1989

Cover of the exhibition catalogue for ‘The Other Story’, Hayward Gallery, 1989

Tuesday 14 April 2015
Time: 10am to 12.30
Venue: CSM, Room KX D107

A presentation by Hammad Nasar.

Tate Britain’s exhibition ‘Migrations: Journeys into British Art’ (2012) can be seen as an attempt to map the impact of immigrant artists on the landscape of ‘British’ art over the past 500 years. It can also be positioned as an effort to productively complicate the ‘Britain’ in Tate Britain. But if we sharpen our focus to one of the nine galleries covering different eras that comprised the exhibition, it can be read as a partial restaging of the Hayward Gallery’s ‘The Other Story: Afro-Asian Artists in Post-war Britain’ (1989).

‘The Other Story’ – Rasheed Araeen’s polemical intervention – is among the small number of historically significant exhibitions in 1989 that have collectively shaped a new geography of contemporary art. But I do not see ‘Migrations’ as an example of the de rigueur reconstruction of key exhibitions. I see it, instead, as an inadvertent restaging: compelled, as if by a ghost, to address questions that have been left unanswered.

Based on access to Araeen’s personal archives, this paper begins a longer-term inquiry into how the artworks, and the discourses they were embedded in, changed during the 23 years it took them to move from the South Bank to Milbank. It also asks, through specific examples based on recent exhibitions in Asia, if migration ‘into British Art’ is matched by an emigration out of other places? Where does British art history intercept with that of Pakistan, the Philippines, or Taiwan?

Places are limited, so please contact Dr Lucy Steeds if you are interested in attending:

Email: l.steeds@csm.arts.ac.uk

Further information about the CSM Research Group: Exibition Histories Practices.

MA Documentary Film Course Leader, Dr Pratap Rughani, takes his film ‘Justine’ to London’s Cinema and Human Rights Conference

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Still from ‘Justine’, Pratap Rughani, 2013.

‘Justine’, a film by LCC’s MA Documentary Film Course Leader Dr Pratap Rughani, is part of the Cinema and Human Rights Conference on Saturday March 14. The film, which has already won awards internationally and was recently screened at the London Short Film Festival, will be at the centre of a conversation in which Pratap will explore the issue of documentary ethics.

The film itself is a documentary portrait of Justine, a young woman with an advanced neurological disorder. Pratap explains “among the challenges in making this work are the ethical questions of seeking to make a film with a central subject who is not able to give her own consent in a form that English law recognises. Consent traditionally passes to parents, guardians and carers but this film still seeks to understand what Justine’s consent might look like.”

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Dr Pratap Rughani.

Pratap continues “the film aspires to communicate something of Justine’s experience and the rhythms of her interactions with the world hopefully enabling her to emerge through her actions. The process was configured to be led by Justine, listening closely to her language of movement and gesture rather than imposing views about what might happen to create ‘story points’ for a narrative.”

‘Justine’ takes Pratap’s long-standing documentary practice and research into the territory of severe disability. The documentary seeks to develop ‘consent’ in a way that can include the agency of people like Justine, rather than surrendering these choices to others.

Justine’s pace and responses lead the camerawork and direction. Project Art Works’, who commissioned this film, aspires is to develop a way of filming that can acknowledge the realm of ‘not knowing’; a place where doubt and tentative, tender exploration unite people – speaking a language of gesture, inference, intuition and feeling.

Read more about MA Documentary Film

Read more about Pratap’s research

Read more about the Cinema and Human Rights Conference

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Green Week Review // Creative Activism

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Designer Paul Hamilton prepares students for their Green Week 2015 activism workshops. Image © Lewis Bush

During this year’s Green Week, a panel of experts spoke on art, design and campaigning in order to kick-start LCC’s Games for Change and X Challenge practical workshops. BA (Hons) Journalism student Ella Jukwey reports.

When we think about activism, we usually think about protests and boycotting. We rarely think that activism can have a creative aspect to it. So it was intriguing to find out about the creative methods that can be adopted in activism.

As part of UAL’s Green Week 2015, a lecture on creative activism was held at LCC. It’s apt to discuss creative activism within UAL because the University is a famous breeding ground of influential creative minds.

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David Buckland, founder and director, Cape Farewell. Image © Lewis Bush.

The first speaker at the lecture was David Buckland. Buckland created and now directs the Cape Farewell project, helping to bridge the gap between artists and climate scientists.

Buckland showed a moving short film that included poet Lemn Sissay. As Sissay chanted “What if we weakened ourselves getting strong?”, his powerful poem assisted by violins was a moving display. This showed that activism could be something as beautiful and artistic as poetry.

The next speaker, Tony Credland, a Senior Lecturer and Lead Tutor at LCC, showed the vibrancy of activism. Credland is involved in Reclaim the Streets. RTS was developed in the mid-nineties and is a collective that champions community ownership of public spaces. Credland also described Reclaim the Streets as a critique of the capitalism that was driving the destruction of the climate.

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Tony Credland, LCC Senior Lecturer and Lead Tutor. Image © Lewis Bush

When the conservative government built new roads, RTS responded by throwing a street party. They blocked traffic for hours and their street party involved debate and discussion.

In 1996, Reclaim the Streets held a street party on the M41. They closed and drilled up the motorway and planted trees. In 1997 they held a street party called Never Mind the Ballots.

A defining feature of RTS’ street parties was the use of masks. The colour-coded masks helped to evade police but also share an important message. The masks made the protest less about the individual and more about the cause.

RTS said, “By wearing masks we show that who we are is not as important as what we want. What we want is for everyone.”

Reclaim the Streets did not just protest through street parties, they also distributed papers. RTS created a mock newspaper Evading Standards, a spin on London’s free paper Evening Standard. Twenty thousand copies of Evading Standards were given out.

This method of making mock-ups of popular brands is not unique to RTS. The following speaker, designer Paul Hamilton, also mocked up images in a project with Greenpeace.

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Designer and OneAnother co-founder Paul Hamilton. Image © Lewis Bush.

The Killer KitKat campaign was a mock-up of KitKat’s billboard. The image was so convincing that Nestlé thought that there were actually KitKats with the name Killer on them. The reason behind the campaign was that Nestlé were destroying rainforests and therefore endangering orangutans.

They were put up as banners and in the nearest railway station to Nestlé’s headquarters in the UK. The campaign also forced Nestlé to drop the palm oil which was endangering the animals.

The Creative Activism lecture showed that when creativity and activism joined forces, amazing things could happen. Attendees were made aware that creative people have a role to play within environmentalism.

Words by Ella Jukwey.

Read more about Green Week

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Strangelove Embraces All Central Saint Martins

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From 16-20 March, the Strangelove festival is bringing moving image to spaces throughout Central Saint Martins.

In every programme – from Graphics to Fashion to Fine Art – moving image plays an important role. The College asked artist Terry Smith and curator David Gryn to help develop a film and video festival that brought students, staff and the public together.

David Gryn explains: “Film is a place where all our learning and experience combines into a powerful collaborative outcome. This was the essence of this festival – to encourage the college to come together to enable greater learning, collaboration, and empowerment via a medium we all use and observe daily in our work, creativity and life.”

Explaining a little more about his selections for the festival, Terry Smith says: “My choices reflect work that I am curious about, work that has made an impression on me, and work I am jealous of and wish I had made.”

Wired to respond
There is a reason why moving image is relevant to so many practices. Paul Rennie, Content Subject Leader for our Graphic Communication Design programme, explains: “At a very basic level, human beings are cognitively wired to respond, and to be attracted, to movement and light.”

Strangelove will give an insight into the ways film and video are used in disciplines across Central Saint Martins. Events range from the screening of a film essay on the street dogs of Istanbul, to a symposium on the production of fashion films.

Mark Dunhill, Dean of Academic Programmes, was instrumental in bringing the festival together. He says: “I am really delighted that the Strangelove programme will be presenting such a diverse range of content, representing so many different areas of activity across the College. Clear as much time in your diaries as possible, and see as much as you can.”

More information:
Strangelove festival
Blog: Museum Brings Silent Film to Strangelove

Review // Design Cultures Guest Lecture: David Kershaw, CEO, M&C Saatchi

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From l-r: Student Ernst Young (quoted below), speaker David Kershaw and Associate Lecturer Maureen Salmon

David Kershaw, CEO, M&C Saatchi, visited LCC recently to talk to students on the BA (Hons) Design Cultures course studying the Contextual and Theoretical Studies – Creative Industries unit.

LCC Associate Lecturer Maureen Salmon MA FRSA reports on a fascinating lecture on advertising agencies and leadership.

David Kershaw was educated at Bedales School and Durham University, where he obtained a BA (Hons) in Politics and Economics. He entered advertising as a graduate trainee at Wasey Campbell-Ewald in 1977.

He then gained an MBA from the London Business School, and later joined Saatchi & Saatchi UK. He became its Chairman and CEO in 1994.

In January 1995 he resigned together with Maurice and Charles Saatchi, Bill Muirhead and Jeremy Sinclair to set up M&C Saatchi. The company has 22 offices around the world.

David began by talking about his career journey. He described how, with a lucky piece of advice, he entered the corporate world of advertising. The setting of M&C Saatchi was an “entrepreneurial adventure”.

David highlighted the importance of simplicity in leading and managing. Talking about M&C Saatchi, he said: “What we do is create communication that sell things or ideas for our clients. Advertising is about trying to change people’s behaviour, sometimes their thinking.”

He explained that an agency has to answer six key questions:

1. Who are we selling to?
2. What do we want them to do?
3. What should we say?
4. How should we say it?
5. Where shall we say it?
6. How will we know if it works?

To illustrate, he showed the ‘Mighty White Bread’ (Australia) advertisement.

He also asked:

What do you need to get a job?

• Account Management & Planning: a degree, passion and personality
• Creative: a ‘book’ often put together at college/specialist courses
• Production – a trade, craft skill: college/apprenticeship

A lively discussion ensued, with some insightful questions and comments from the students on leadership, creativity, the future of advertising in the digital age and the kind of people the advertising industry is looking to recruit. In David Kershaw’s words, these are “people with a good degree plus a smart personality, passion and relentlessness.”

Student responses //

“David Kershaw’s talk on leadership was something that I had to take note of, no matter what. He gave many of his own personal insights into the importance of being an executive at M&C Saatchi. I felt thankful that he was able to make time to come in to talk with us about his experiences and remind us that apart from being skilled at what you do, having a personality and a positive attitude are something that prestigious firms look for. I hope that in the near future we will be able to invite him over again to do another talk as I feel that many students have missed this rare opportunity to listen to one of the greats in the industry.”
Ernst Young, BA (Hons) Advertising, Year 2

“I really enjoyed listening to David Kershaw and was inspired by his ideas on leadership and how to have clarity of purpose, avoid complexity and platitudes, be different, make a difference by doing good work, have courage, manage risk and encourage 100% participation. Leadership is more important than management. It’s all about people – make sure they are better than you, diverse in talent, skills and personality, passionate, and relentless.”
Nuria Urcelay, BA (Hons) Design Cultures, Year 1

“David Kershaw’s ideas on the concept of permanent revolution resonated with me. “Keep shaking things up, question yourself” when he was talking about leadership, and as an inspirational one I will also choose “Don’t absorb, radiate.”
Esther Fuentes, BA (Hons) Design Cultures, Year 1

On behalf of LCC, UAL, we thank David for sharing his ideas and experience on leadership and his entrepreneurial adventure in advertising with our students.

He is one of the UK creative industries’ most inspirational and passionate leaders who has demonstrated his commitment to developing and inspiring future leaders for the industry, through his work as a board member of the Clore Leadership Programme and as chairman of the Cultural Leadership Programme from 2006 to 2011.

Students who attended the talk have been invited to apply for the 2015 M&C Saatchi Work Placement Scheme.

Words by Maureen Salmon MA FRSA
Associate Lecturer BA (Hons) Design Cultures/Contextual and Theoretical Studies

Read more about BA (Hons) Design Cultures

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