"I MEAN, WHY WOULD YOU WANT TO START YOUR OWN BUSINESS ANYWAY?"

Words said to Richard and I soon after we resigned from our last jobs.

Interestingly the person who said them was someone who’d started their own, not unsuccessful business.

But he did have a point.

I mean, as jobs go, they didn’t come much better. 

We were earning a decent living. We’d had a great run at RKCR: Top of the new business league. Top awarded agency in the UK.

And it was also true that the economy was not in the best of health. 

So what the hell would induce us to want to jump out of a safe, secure, corporate job into that maelstrom of the unknown that is entrepreneurship.

Everyone has their own reasons, but in taking the above question seriously a few answers came to mind. Answers which still held true nine months later when we were finally contractually allowed to open our doors.

First, I felt ready.

Ready to put into practice what I’d learned over the last 26 years. I’ve worked for some amazing people in some amazing companies, and throughout that time I’ve attempted to assimilate the good bits whilst learning from the bad.

Sure, you don’t need 26 years experience to start your own business. But if I were a client I’d like to know that the people I’m working with are not just able to do funky, cool, creative things, but also understand the commercial imperatives, having come across, and solved, a load of business problems comparable to mine. And also that they’ve done enough good work and won enough awards to have got glory hunting out of their system, whilst still staying passionate about the value top quality creativity can add to their business.

Second, and probably most importantly, I’d found a kindred spirit.

In Mr Exon was a like-minded soul also chomping at the bit to do his own thing. And that, I can tell you, is a rare and beautiful thing to find.

Another thing I realised during my contemplation: everyone I truly respect has started their own business.

Dave Trott, Paul Arden, Maurice and Charles Saatchi, David Abbott, Frank Lowe, Robert Saville, Mark Roalfe. And those are only the people I’ve worked for. In the little old world of advertising. The list outside those small confines goes on and on.

There’s something brave and special about what these people did. They didn’t start up for the money. They did it because they felt they ‘just had to’. Most had become too big a character to live in captivity. Their vision and ambition outgrowing that of the organisations they were working for. Their personal happiness, not merely their wealth, depended on their starting their own business.

I know myself well enough to realise that if I didn’t at least give doing my own thing a go I’d end up respecting myself just a little bit less.

A few more reasons:

The world of communications is more exciting now than ever before. Technology has unleashed upon the world wave upon wave of inspiring startups in all manner of spheres.

Over the years I’ve become obsessed with tech and the increasing part it’s playing in everyone’s lives. For me the opportunity to meaningfully partner and collaborate with some of the most amazing experts in their field was becoming overpowering.

I began to feel the need to create something. Something special. Something I can look at in years to come and be proud that I helped create it. Something that doesn’t just have value, but that is valuable. 

Finally, someone once gave me some advice about starting your own business: if you don’t really, really want to do it, for God’s sake don’t. 

And I guess that was the clincher. I really, really do.

Female creatives. Do we really need 'em?

There are two questions that get perennially asked in advertising:

Why aren’t there many women working in creative departments.

And, how can we redress the balance?

At RKCR we seem to have an unfair share of the female advertising workforce, 11 women. But that’s still nowhere near 50/50.

Whilst the, mostly male, creative community bemoans the dearth of female creatives, in truth they’re not doing much to change the situation.

This may be because, in their heart of hearts, they believe you don’t need to be a woman to ‘get’ women?

And it’s true, there are men who are intuitively ‘in touch with their feminine side’ and know women better than they know themselves. The fashion business is stuffed with them.

Less so the ad business.

Conventional wisdom, and the research companies, would have us believe that focus groups can tell us all what we need to know to make us experts in what women want.

If only it really were as simple as just chucking money at the problem.

Personally I love women.

I spent 15 years working with one.

Mary Wear is one of the best writers in the business. And one of the smartest women I’ve met. And she helped me create work I wouldn’t have made had I been working with another man.

We once worked on a campaign for Tampax aimed at teenage girls.

Never having been a teenage girl myself I found this a fascinating learning experience. (I’m afraid my prior knowledge of the target audience had sod all to do with worrying about their ‘emotional needs, wants and desires’.)

Having lived through that maelstrom of a life-stage herself however Mary was the best depth research group you could ask for, there in the room. And at no extra cost to the client. Added value!

During our extensive ‘insight mining’ - chatting - I’d ask her whether a sixteen year old girl would think something-or-other.

Her reply would often be: “Would they bollocks.”

Invaluable.

Mary would always say women could tell an ad aimed at them that had been written by men. As an example of what not to do she’d quote the copy of an old Tampax ad she once saw which started: “If you’re a woman or a girl who has periods…”

You don’t need girls to do work aimed at girls. You don’t need to be a woman to get inside the mind of a woman.

But the truth is that work done by the target audience offers a powerful mixture of insight linked to creativity.

And you don’t get that from research groups.

Because of those 15 years working with Mary I have a lot of time for mixed-sex teams.

They add balance.

They prevent blokes from being too blokey. And mitigate against girls being too girly.

But what about the numbers of women wanting to enter the business? Why aren’t they greater?

Though not as tough or sexist as it may have been in the past, the advertising business doesn’t take any prisoners.

And creative departments especially are high-pressure environments: It’s painful having your beautiful ideas smashed to shreds by clients and creative directors.

Then there’s having to deal with competitive colleagues, playing mind games, desperate to out-do each other.

In Dave Trott’s book Creative Mischief, he talks about why women steer clear of creative jobs. He rightly describes creative departments as playgrounds, full of boisterous piss taking and gags.

Playgrounds are fun, but they’re also where bullying happens.

We not only need to entice smart women into the business, it’s imperative we give them a reason to come back from maternity leave when they start a family.

If we’re to do that perhaps we need to look to ourselves to change rather than asking them to.

The answer, soppy though some hardened practitioners may think, is providing a nurturing and caring working environment.

A support culture rather than a blame culture.

Offering encouragement and positive feedback rather than sarcastic sniping.

Baking into the culture the freedom to fail.

I’m not saying treat women differently to men. Why not treat everyone decently?

Yes, it takes more effort. And that might be a stumbling block for some.

But it’s a simple equation:

85% of purchasing decisions are made by women.

We need clever women to help us do our jobs well.

If we don’t treat them with respect they’ll just sod off and go and do something else.

And, gentlemen, that certainly won’t help the end-of-year numbers.