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Six ways to drive innovation
Matthew Carlton, Event Reports, IPA Eff Fest, October 2013
This report discusses how marketers and agencies can make their organisations more creative. It identifies four Cs for overcoming creativity challenges - Commitment, Context, Courage and Collaboration - and suggests six models of organisational creativity.
This report discusses how marketers and agencies can make their organisations more creative. It identifies four Cs for overcoming creativity challenges - Commitment, Context, Courage and Collaboration - and suggests six models of organisational creativity. These include the Compartmentalised model, where creativity is departmentalised and is typically followed by agencies and major organisations, and the Dropped In model, which involves buying in innovation from the outside, rather than developing it on the inside. The report concludes with an example of collaboration from the UK Government website, which as well as expecting to save £1.1bn, has opened up its code to anyone who wishes to use it and improve it.
Most discoveries in business are the result of accident, rather than design
Jules Goddard and Tony Eccles, Market Leader, Quarter 4, 2013, pp. 18-18
This article encourages companies to better manage the conditions that will bring about creativity, breakthrough-thinking and strategic innovation.
This article encourages companies to better manage the conditions that will bring about creativity, breakthrough-thinking and strategic innovation. It criticises the boundaries that act as potential barriers and claims that ad agencies that mix their core disciplines typically outperform those that keep them separated. The barriers that must be crossed fall into four areas: organisational, geographical, methodological and conceptual. The authors recommend fostering the skill to ask different questions, address a different agenda or pose different challenges.
The Fire Starter and the Brand Steward: An Examination of Successful Leadership Traits for the Advertising-Agency Creative Director
Karen L. Mallia, Kasey Windels and Sheri J. Broyles, Journal of Advertising Research, Vol. 53, No. 3, 2013, pp. 339-353
This article seeks to uncover the complexities of the creative director’s leadership role in advertising agencies.
This article seeks to uncover the complexities of the creative director’s leadership role in advertising agencies. The authors based their work on data received from six agencies and 43 interviews conducted at those participating agencies. Findings suggest successful creative directors combine expertise in creativity, strategy, and interpersonal communication to motivate and mentor co-workers, oversee brand identities, serve as liaisons between creative people and other agency departments and clients, and shape the creative vision of the agency.
Matching Creative Agencies with Results-Driven Marketers: Do Clients Really Need Highly Creative Advertising?
Sheila Lucy Sasser, Scott Koslow and Mark Kilgour, Journal of Advertising Research, Vol. 53, No. 3, 2013, pp. 297-312
Creativity in advertising is a balancing act. Marketers say they want greater creativity, yet their agencies feel that these clients reject cutting-edge work and fail to adopt risky campaigns.
Creativity in advertising is a balancing act. Marketers say they want greater creativity, yet their agencies feel that these clients reject cutting-edge work and fail to adopt risky campaigns. So, when is highly creative advertising really needed, and when is it most appropriate? Why are clients “risk averse” as they avoid taking chances when times are good and should “breakthrough” advertising air during good and bad times? Copy testing and the impact of organizational politics on creative campaigns are key factors. The client’s openness to new ideas was examined as a conditional variable across 1,125 advertising campaigns reported by 408 advertising agency subjects.
Point of view: Fight perfectionism
Molly Flatt, Admap, September 2013, pp. 13-13
This article discusses the differences between 'fixed' and 'growth' mindsets in marketing, arguing that social media demands perfectionism is replaced by a more personal and engaging approach.
This article discusses the differences between 'fixed' and 'growth' mindsets in marketing, arguing that social media demands perfectionism is replaced by a more personal and engaging approach. Traditional marketing allowed marketers to control information, but this is no longer possible. Marketing that has an authentic sense of rawness allows consumers to feel more involved in the brand than perfected template emails or staged press photographs. The article argues that while high standards and precision will always remain important, social media demands a process of continual learning and adaptation.
The last word from the East: Wu Xing and organisational change
Barney Loehnis, Admap, July/August 2013, pp. 50-50
The article argues that the success of an organisation and its ability to be agile can be likened to the presence of five elements of health which, in Chinese, are collectively known as "Wu Xing": wood, fire, earth, metal and water.
The article argues that the success of an organisation and its ability to be agile can be likened to the presence of five elements of health which, in Chinese, are collectively known as "Wu Xing": wood, fire, earth, metal and water. Wood embodies the need to adapt to the changing environment. Fire represents an agile culture that rewards innovation. Earth embodies yin and yang and the interdependence of old and new. Metal, the autumn, is the period to harvest, scale and build efficiencies from growth. And water symbolises people working together efficiently with a common planning process, values and goal.
Innovation: The science of serendipity
Matt Kingdon, Market Leader, Quarter 3, 2013, pp. 28-31
This article looks at how innovation, a very new discipline, works in organisations. Instead of lucky, overnight transformations, innovative solutions come out of a groundwork and previous failed attempts.
This article looks at how innovation, a very new discipline, works in organisations. Instead of lucky, overnight transformations, innovative solutions come out of a groundwork and previous failed attempts. However, innovation is a difficult concept to understand because there is a lack of agreement in innovation's definition, context and location. The rules of innovation can't be prescribed because the game is as reactive and emotional as it is proactive and rational. This is where serendipity, or working hard to increase the chances of being lucky, comes into play. The author outlines five observations on what truly drives innovation, including: the need for project leaders to be obsessed with outcome; the importance of allowing innovators to experiment outside the glare of scrutiny; and the benefits of ensuring staff from all areas of the organisation interact with each other.
Customer marketing: Lock sights on the new customer-centric agenda
Simon Glynn, Market Leader, Quarter 3, 2013, pp. 12-14
This article looks at what it means to be customer-centric and how businesses can create a customer-centric culture.
This article looks at what it means to be customer-centric and how businesses can create a customer-centric culture. The key to customer-centricity lies in improving the Net Promoter Score: identifying a strategy to increase promoters as well as making the operational efforts to reduce detractors. There are common threads for every brand that can lead us to a new definition of customer-centricity: customer needs; brand story; and operational advantage. Brands that have embraced this strategy include Virgin Atlantic, the airline, Orange, the telecoms operator, and British Gas, the energy supplier.
Rabobank: stability, continuity and solidity
Tony Allen, Market Leader, Quarter 3, 2013, pp. 36-37
This extract from the book Business is Beautiful, a collection of case studies in five categories - integrity, curiosity, elegance, craft and prosperity, focuses on Rabobank, the Dutch bank.
This extract from the book Business is Beautiful, a collection of case studies in five categories - integrity, curiosity, elegance, craft and prosperity, focuses on Rabobank, the Dutch bank. Through talking to two of its senior staff, the article demonstrates what makes the financial brand different. One of Rabobank's most radical features is its organisational structure. Instead of local branches being owned by a central organisation, the network of local Rabobanks is instead the mother of the central organisation. It doesn't have a 'head office' so much as a 'support office'. The co-operative nature of Rabobank is also cited as fundamental to its success because it has built trust among customers at a time when consumer trust in banks is generally low. According to Rabobank's head of co-operative and governance, Vincent Lokin, the brand's integrity relies on the extent to which it takes its own values seriously. This means those values must be constantly re-examined, explained and questioned.
Management: The employer-employee power shift
Helen Brown, Market Leader, Quarter 3, 2013, pp. 44-46
This article describes ways to adapt and thrive as a business while delivering satisfaction for workers - and thereby attract the best employees.
This article describes ways to adapt and thrive as a business while delivering satisfaction for workers - and thereby attract the best employees. If employees feel connected to the 'brand', are stimulated by their work, are acknowledged and have a voice, are given opportunities to progress and are paid equitably, they will be productive, motivated and are likely to achieve greater success for the business. Ways to cater to both employee satisfaction and business needs include improving communication, looking at performance on a daily, not yearly basis and creating an internal recruitment market. Firms need to be more flexible, more responsive and adapt the demands they place on employees.
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