Bringing nature closer to you

Summer is here and it’s time to face your neglected, overgrown, rusty-barbecue-strewn garden and bring it back to life. But it doesn’t have to be a complete nightmare. We’ve been working with KADO to make it super easy for anyone to enjoy thriving flowers for the whole of summer. 

Last year we designed and launched the brand exclusively for launch at Waitrose. This year KADO is available at Tesco, online and in Garden centres,  to spread the word we’re bringing inspiration to you. We created an Instagram lookbook shot by Kristin Vicari designed to hero the human connection with plants.

SS17

In a whirlwind two day shoot we shot 3000 images for a social calendar that illustrates the joy of blooming flowers in your garden.

 Closer to P.O.S.

From these shots we created proximity OOH to inspire consumers close to point of purchase.

How Diverse Are We?

Reporting on diversity is tricky for small organisations. Percentages can be misleading when a single hire or departure can shift the proportions in a category by 5 or 10 percent. And you need to be careful about what you’re publishing when percentages on charts might represent a single individual, you risk breaching confidences. Typically, as well, small organisations don’t have HR departments, there’s no one with specific training in what ‘diversity’ questions to ask and how to ask them.

Nevertheless we think it’s important to start monitoring our diversity and equally important for us to share what we can. That report is below. We’re afraid there aren’t any fancy bar charts, there’s not enough data to require them. There’s also a brief note on our method.

Doing this has made us wonder whether there’s a way we can join with other organisations to make this stuff easier for us all, perhaps we can share tools and techniques and create a useful set of comparison data. We’re going to look into that and write more soon.

 If you’re interested in joining in, please get in touch.

What have we learned from the data?

We need to be more diverse. We’re doing better than some in some areas; our creative department, for instance, is 40% women, but even that’s not the 50% it should be and that’s a highlight. We’re too male, too white, and too heterogeneous. We need to fix that. That will be part of our growth plan and we will report on our progress here.

Diversity at BETC London March 2017

(We’ve rounded all the figures so they may add up to more than 100%)

  • 60% of us are men, 40% are women. 
  • 33%of the senior management is female (ie there are two men and one woman)
  • More than half of us (57%) are between 25 and 34. 22% are 35-44, 13% are 16-24, 8% are 45-54.
  • We have no staff who would be defined as disabled according to the 2010 Equality Act and no one with a long-term health problem.
  • We are 57% white (of various British origins) and 26% white (from non-British origins). We’re 5% Black British, 5% Arab and 9% from mixed/multiple ethnic background.
  • 48% of us went to a state school, 26% attended school outside the UK, 26% went to a fee-paying school.
  • 78% of us went to university and 43% of us were part of the first generation in their family to do so.
  • 22% of us are primary or secondary carers for children. (So we’re pretty committed to be a family-friendly place to work)

Note on method

We did this by sending round a Google Forms questionnaire which you can see here.  

It’s based on this one (WARNING - Word doc) from the Solicitors Regulation Authority. They seem like the kind of organisation that would have thought this stuff through. If you’d like to use our questionnaire for your study please feel free. Get in touch and we’ll share it.

Proud to present our first Rimmel campaign

We recently made a new film for Rimmel, launching the new brand tagline ‘Live the London Look’ and a new brand attitude. Everybody I work with knows I love beauty, but when writing this post, I wanted to explore the reasons for this passion in a bit more detail. 

There are probably as many definitions of beauty as there are people on this planet:

Brands are starting to catch up with the notion that beauty can not be defined - and it means something different to everybody. We need to take this truth seriously and do our best to represent and speak to a wide audience. We are connecting with savvy young men and women, a lot of whom look up to the brand and are highly engaged in the conversation. They will call out brands who don’t listen or move with the times. This is exactly why casting was such an important part of our Rimmel Anthem film. We wanted to give our audience a voice and an opportunity to tell us what beauty and makeup means to them. By giving real girls and guys a voice we are speaking with them rather than at them.

It is never boring:

Thanks to YouTube, Instagram and Pinterest I don’t think anybody could ever run out of nail art ideas, tips on how to contour and to generally learn & experiment. This is exciting, both for consumers and advertisers particularly when working on a brand such as Rimmel which is not afraid to push boundaries and experiment. It's even more tempting to try the ‘no-makeup’ look or a new lipstick shade when there are so many affordable products out there. Today - everybody has a chance to play.

It's indulgent:

For me it is indulgent in ways which may not be obvious, the biggest indulgence being time. The time that I take for myself to put on that blush, to play with eye shadows, etc. It’s meditative in a way to slow down and take the time to touch my face, to concentrate, to not be distracted by technology and life.

I am also amazed at what a difference a red lip can make on most women and how an under eye concealer can hide so many secrets.

And because what we all really want to know is what our audience thinks, I asked some teens for their thoughts on our latest film. Here is what they had to say:

·      We like the modern aspect of it and how there are different ethnicities/different types of people included. We find it inspiring how there are a variety of looks not just models- it makes it original.

·      Like how it’s not being the image of ‘perfection’

·      The different paces alongside the urban ‘strong-beated’ music make it engaging.

·      The slower end re-iterates the moral – to be yourself, very well.

·      We did think that the room in which the nails were painted did not look too ‘aspirational’. 

There's a lot  more coming and we can't wait to share with you.

Watch this space and 'Live the London look' 😝

BETC recommends: Infinite Mix

 

Looking for distraction from the US election results this weekend? We recommend visiting Infinite Mix: Get lost through a series of incredible audio-visual installations on the cutting edge of video and contemporary art.

Taking place in the iconic brutalist building The Store, Vinyl Factory and the Hayward gallery present a selection of 10 contemporary artworks featuring hologram-like installations, multi-screen music videos, cinema-style 3D projections and a bullet-riddled tour of Kendrick Lamar’s home town. Conceptually and emotionally immersive, all genres are blurred, and it’s about time they were. 

“What you see is as important as what you hear”

Devoted to video and music, Infinite Mix represents an inventive approach to layering images and sounds. Most of the artists involved have themselves composed, produced or remixed the soundtracks that relate to the visual elements of their work.

From opera to funk, post-punk, dub, dancehall and hip-hop, Infinite Mix is an experimental trip into diverse weird yet wonderful universes, both thought-provoking and deeply entertaining.

The first room opens the show on Stan Douglas’ Luanda-Kinshasa, a work that finds a 1970s fictional jazz-funk band in the midst of a recording session. Set in a replica of the legendary Columbia 30th Street Studio, the six hours long experience brings up this infinite perspective on which the entire show is based.

 

Down in the basement, Cyprien Gaillard’s complex and visually-lush film Nightlife, is projected in 3D. The dancing plant-life and trees in his film lurch out at you, waving around to the dub-reggae rhythm of the 1970’s Blackman’s World chorus.

The weirdest piece is without doubt the brilliant and surreal pop-tastic Jeremy Deller and Cecilia Bengolea’s film following the Japanese dancer Bom Bom, who specialises in an impressive mix of gymnastics and twerking. With dream sequences featuring deliberately cheap effects, this is an unforgettable experience.

If it is difficult to say, the most compelling work is probably the very ambitious two-screen video m.A.A.d. by Los Angeles-based artist and filmmaker Kahlil Joseph. Mixing beautifully shot, documentary style filmmaking, the artist immerses the viewer into the often-chronicled violent streets of Compton in LA, with surreal scenes moving on Kendrick Lamar’s 2012 good kid, m.A.A.d city soundtrack.

 

Dystopia, raw realities or just artistic fantasies: all the installations challenge the boundaries between the real and the staged, the sublime and the everyday, the colours and the sounds.

A deep physical, emotional and cerebral viewer experience - not far from the office - that you cannot miss!

Infinite mix also features work by Martin Creed, Dominique Gonzalez-Foerster, Cameron Jamie, Elizabeth Price and Ugo Rondinone that rethink conventions of documentary film.

Lena Novello

BETC London meet their maker

BETC London were invited to the inauguration of Pantin (BETC Paris' new office) to drink, dance, and witness the start of a neighbourhood regeneration.

Starting with true British flair the entire London team travelled to Paris, instantly looking for pudding-shops (boulangerie), tobacco stores and the nearest seat available for a tiny coffee.

With a speedy stop at Mama Shelter, we were off to Pantin. And, after getting in the way of the French Prime Minister, collecting wristbands for free drinks and loitering in the lobby, we were ready to be taken on a building tour by our founder Remi Babinet.

The impressive former flour & grain warehouse (dubbed ‘graffiti cathedral’)  stood derelict since 2000 on the canal in Pantin. So when it came to renovating, celebrated artists and designers came onboard to help preserve and respect the building's history -keeping the full original structure and the cultural landmark intact. 

After the tour, we joined a mini festival right outside the office, where we were picked up by boats for a short cruise down Canal de l' Ourcq, docking at Cabaret Sauvage to dance until we couldn’t.

We had a ball with our French family. Their new home standing sweet, striking the delicate balance of avoiding gentrification, while celebrating and welcoming new culture. We can’t wait for our next visit.

Image credits to Florian Duboé (mainly), Felipe Pires Dias, and Kate Gibson (who has a photography GCSE).


Application: Rich Stoney

By Rich Stoney


Peter Mead started his career in the post room.

Gordon Smith began as a runner.

Mike Cozens set type.

Alan Parker was another post room alumni.

Mark Denton was a paster upper at Knitting Digest.

Barbara Nokes was a secretary.

Charles Saatchi started as a voucher clerk, verifying press ad appearances for the clients of a tiny agency in Covent Garden.

I guess you’ll have spotted the theme running through that list.

Yep, none of those jobs exist any more.

These were the entry-level jobs, roles that required no qualifications and no training. Exactly the kind of jobs that you could get even if you were a bit of an oddball. In fact, especially if you were a bit of an oddball.

All were low paid but live-able. And for the some, like the names I began with, they were an unconscious foot in the door. The first step of a glittering, richly rewarded and richly rewarding career

These jobs gave the mavericks a chance. The chance to exist within an agency environment and allow the addictive grip of advertising to seep into their blood. The chance to be the one who was there, late at night when no one else was about, to write a last minute ad for a desperate client. The chance to observe the jobs in progress and to think: “I could do better than that.”

The opportunities that flowed from those humble beginnings have disappeared along with the jobs: the relaxed didactic conversations; the unofficial mentoring; the trade ad apprenticeship; the essential getting-it-wrongs on the way to getting-it-right.

Today’s agencies are very different.

Today, there are no ‘entry level’ jobs. Joining a creative department comes with the immediate expectation of a facility with photoshop, illustrator, indesign. Of being able to put together a deck. Of knowing how to get it right, right away.

And because those are expected from day one, the vast majority of new creatives are hired from broadly similar backgrounds -  the Watfords, the Bucks, the Falmouths, the SCAs, etc.

The problem with this, efficient though it is for agencies, is that agency personnel are becoming more and more homogenised. That’s despite the courses, good as they are, making serious efforts to diversify their intake.

No, if the attitude is sink or swim from day one, new recruits make sure they have the ability to fit in.  And not necessarily to stand out.

We kid ourselves to think that the talented could walk in off the street - raw and visceral - and succeed. But it’s not true.

Against our own better natures, we’d batter them with guidelines, processes and deadlines, until they too learned to produce the ‘right kind of things’ and ‘buyable ideas’ to order.

I’m not arguing that youth should have it all, that we can’t question their creativity. Not at all. I’ve seen drivel and rubbish dreamt up by creatives of all ages. What I’m arguing for is a little more time, a little more space and a little more understanding that to grow, talent has to be nurtured not neutered.

But that same proto-talent needs to eat, drink and live.

So if ad agencies, particularly creative departments, are to avoid being wholly staffed by the white middle classes who can rely on family to support them through placements, we’ll need to find a way to pay for them.

Otherwise, there’ll be no future equivalents of AMV, GGT, BBH, CDP, SPDCJ or any of the other agencies from my original list. And if none of those existed, we’d all be poorer for it.


LOVE/HATE

LOVE/HATE