17475: The WPP Strategy—How To Grow A Flaming Dumpster.

 

MediaPost reported WPP elevated two White men to global presidents of client growth.

 

It must be a confusing time for WPP drones and leaders, as the single White operating company reels via restructuring, redundancies, and RIFs while simultaneously readying for revitalization, reinvention, and growth.

 

Both White men are credited for achieving success with media and advertising pitches at earlier versions of WPP.

 

Seems they’ll now face the challenge of first defining what they’re pitching.

 

Wise people have said it is only through adversity that we experience growth.

 

At least the newly appointed global presidents of client growth have plenty of adversity to leverage.

 

WPP Elevates Jenner, Heimann To Top Growth Roles

 

By Steve McClellan

 

WPP agency veterans Toby Jenner and Philip Heimann have been promoted to global presidents of client growth. The roles are new and designed to drive the company’s “single unified growth strategy” spelled out by CEO Cindy Rose earlier this year.  

 

They both report to WPP chief operating officer Devika Bulchandani.  

 

Jenner, a 20-year company veteran, was previously global chief business officer at WPP Media and before that CEO of company media agency Wavemaker. Most recently he’s credited with shaping WPP Media’s unified go-to-market strategy and leading successful pitches for adidas, PlayStation, Reckitt, Amazon and more. He will continue to oversee WPP Media growth as part of his broader holding company remit.

 

Heimann was previously global chief growth & marketing officer at Ogilvy. He’s credited with boosting the agency’s pitch win rate over six years from 22% to 60% leading the team that won assignments from companies such as Verizon, Audi, Kimberly-Clark and more.   

 

With the promotions, both executives join WPP’s executive committee. Jenner will also serve on the WPP media global leadership team and Heimann will serve on the WPP creative leadership team.

17474: Heineken Puts The Con In Consolidation.

 

Advertising Age reported Dentsu retained Heineken global media duties after a review, while creative duties were consolidated across Publicis Groupe, WPP, and Stagwell.

 

The Heineken Chief Commercial Officer stated, “Moving to fewer, better and bigger agency partners is part of our broader commercial transformation.”

 

Um, partnering with four of the six biggest holding companies underscores the exclusivity in Adland.

 

Independent White advertising agencies are shut out from serving global accounts.

 

Multicultural agencies likely receive even fewer crumbs—if anything at all.

 

Anyone not in a holding company is resigned to cry in their locally-brewed beer.

 

Heineken sticks with Dentsu for global media, shakes up creative roster

 

By Ewan Larkin

 

Dentsu has retained Heineken’s global media business following a competitive pitch process, with the brewer also consolidating its creative roster across Publicis Groupe, WPP and Stagwell.

 

Publicis retained global secondary production duties and, along with WPP and Stagwell, will handle creative for Heineken’s Amstel, Birra Moretti, Desperados and Tiger brands, as well as select local priority brands.

 

Creative for the flagship Heineken brand was not part of the review and remains with Publicis.

 

COMvergence estimates Heineken’s global media spend is $550 million.

 

Mediasense handled the agency review.

 

Dentsu’s reappointment is a much-needed vote of confidence for the Japanese holding company, which reported its worst annual loss last year and lost marquee media accounts including Microsoft. Dentsu has worked with Heineken since 2016, with the relationship expanding through a global media consolidation in 2021 and a two-year extension announced in March 2025.

 

The consolidation is part of Heineken’s EverGreen 2030 growth strategy and a broader commercial transformation initiative the brewer calls “Freddyai.” The goal, per the company, is fewer and deeper agency relationships built for speed, efficiency, and creative consistency across global markets.

 

“Moving to fewer, better and bigger agency partners is part of our broader commercial transformation,” Bram Westenbrink, chief commercial officer, said in a statement.

17473: WPP Seemingly Announces, “Houston, We Have A Problem.”

 

Adweek and MediaPost reported WPP US President Michael Houston—a 24-year veteran of the recently relabeled single White operating company—is shifting to an advisory role through Q1 2027. 

 

On a sidenote, it’s pathetic that Adweek still refers to WPP as a holding company, despite publishing content where WPP CEO Cindy Rose declared the corporation is “no longer a holding company.” Apparently, Adweek editors are not reading their own reporting.

 

The new appointment for Houston demonstrates a “natural and planned evolution for WPP, as our operating model continues to evolve,” Rose stated via a note to drones and leaders in the flaming dumpster.

 

The Adweek report is subscriber-only content not worth paying for, so it’s unclear if Rose provided more details, rationale, and/or motivation for reassigning Houston.

 

Regardless, it’s a bad look for WPP.

 

After all, Houston is a rarity—a Black man holding a C-suite position in Adland.

 

When DEIBA+ still mattered in 2020–2021, former WPP CEO Mark Read confessed internal data “underlines the work we have to do to ensure greater representation of Black, Asian and other under-represented communities within WPP—especially at the more senior levels … we have a huge amount of work to do…”

 

In contrast, Rose has not mentioned DEIBA+ at all. In her defense, the topic is no longer an industry concern.

 

Yet for someone whose alleged ambition is to revitalize and recreate WPP, Rose’s moves to date arguably indicate reverting to an enterprise of exclusivity.

17472: WSJ On WPP—A Failure To Communicate.

 

The LinkedIn post depicted above called out Wall Street Journal content spotlighting WPP CEO Cindy Rose, questioning the article headline: Advertising’s First Female CEO Isn’t Afraid to Fail.

 

The post author felt the headline was misleading. While the article clarified Rose is the first female CEO of a holding company—or single White operating company—the author believed the net impression positions Rose as the first-ever female CEO in Adland.

 

The author asserts Mary Wells Lawrence earned the title of first female CEO of a White advertising agency by co-founding Wells Rich Greene in 1966, and the iconic leader has been followed by countless female CEOs in Adland over the years.

 

Initial comments ranged from White men in agreement to White women seemingly expressing passive offense with the author.

 

Of course, there’s no mention of Barbara Gardner Proctor, founder of the first advertising agency owned and operated by a Black woman—a feat achieved in 1970. Ditto snubbing for Caroline R. Jones of Zebra Associates and Mingo-Jones Advertising. Carol H. Williams is a living legend. And there are many other invisible women of color throughout the history of Adland—all of whom contributed waaaay more trailblazing accomplishments to the industry than Rose.

 

Yet the author and commentators arguably missed a bigger issue with the WSJ headline.

 

That is, over 98,000 WPP drones will see their leader isn’t afraid to fail—and will likely fire thousands of them to achieve resounding failure.

17471: ADCOLOR Progresses While Adland Regresses.

 

Adweek reported ADCOLOR is celebrating its 20th anniversary while Adland is celebrating its never-ending commitment—and renewed dedication—to systemic racism.

 

Adding indifference to insult, Adweek couldn’t even bother to spell the organization’s name right—according to the website, ADCOLOR is all caps.

 

This year, ADCOLOR is revamping its program and pushing its annual awards soiree to 2027. Hard to guess if the changes are intentional or resulting from reduced White advertising agencies’ sponsorship. After all, the anti-DEIBA+ vibe impacting Adland—and corporations in general—diminishes any sense of obligation to support heat shields.

 

Additionally, the ADCOLOR website currently lists IPG/FCB as Community Group Partner. Did the Omnicom acquisition of IPG create redundancies affecting partnerships on a financial level?

 

ADCOLOR Founder Tiffany R. Warren’s mood has shifted from Pollyannaish to hopeful melancholy. Although Warren insists her dream of a more diverse creative field—especially at senior levels—has surpassed her original expectations, which indicates delusional thinking or low expectations. Probably a combination of both.

 

Regarding ADCOLOR Nation, the organization’s Vice President of Partnerships gushed, “This is a true community of people who believe in the mission in a way that they’re not just talking about it, they are acting on it.”

 

Okay, except Adland is acting too—that is, the few remaining DEIBA+ initiatives continue to be performative stunts.

 

Adcolor Marks 20 Years With a New Program for a Changed DEI Landscape

 

Year-round events, a new awards approach, and a 2027 conference are among the evolutions to this year’s program

 

By Hannah Bowler

 

As Adcolor celebrates its 20th anniversary, founder Tiffany R. Warren acknowledges there have been “setbacks” in the fight for representation across the industry. That’s why reaching its two-decade milestone is a moment worth celebrating.

 

The organization focused on diversity, equity, and inclusion (DEI) in advertising has unveiled an expanded slate of programming for 2026 that addresses the shifting landscape and evolving needs of its community. 

 

Since its launch two decades ago, Adcolor has built its community around an annual flagship conference and awards hosted in LA. Now, the organization is shifting to year-long event programming and making changes to its awards and mentorship initiatives.

 

“It can’t just be another year that we celebrate, particularly during these times when we have to remind not only our community, but the world how important and how beautiful it is to build and support a diverse community,” Warren said.

 

The activities will kick off at Adcolor’s annual networking event at Cannes Lions in June, followed by gatherings in New York in August and LA in October. The program will culminate with the Adcolor Awards and conference in LA in early 2027, pushed out from its usual early November date.

 

The format of the annual Adcolor Awards has also been updated. Instead of a traditional nomination process, winners will be selected by a jury of alumni. Warren positioned the shift as both a way to thank the community that has supported it over the past 20 years and to spotlight its own alumni. 

 

The nomination process will return in 2027. 

 

“We’re turning 20, and for a good 19 of the 20 years we have been going, going, going, and I’ve not realized how much of a milestone 20 years is,” Warren said. “We needed to take a step back and look at what we created and celebrate that in the way that it deserves.”

 

There will also be changes to the Adcolor Futures (early career) and Leaders (mid to senior-level career) programs. Instead of running within the main conference, both will have dedicated, immersive programming in LA in 2026. Applications for both are already open.

 

The goal is to create a more focused environment for mentorship, professional development, and community-building among the industry’s next generation of diverse leaders, Warren said.

 

Changing winds

 

When ADCOLOR was established in 2006, DEI conversations were “nascent,” Warren told ADWEEK. “Multiculturalism was growing, but it was still very unique, and you didn’t see it in various places within the industry. It was very much marginalized and siloed,” she said.

 

Reflecting on the current pull back on corporate DEI initiatives, Warren said the past two years have been “tough” but that her “dream” back in 2006 of a more diverse creative industry, particularly at senior level, has surpassed her expectations.

 

She said the current moment makes her “a little sad” because of the “swiftness of the change in temperature” of how people feel about “providing opportunities for underrepresented communities.” While she described her outlook as “melancholy,” she added that she has hope this moment is temporary. 

 

“I hope to look back and say that that was a moment in time and that joy returns again and support returns again,” she said.

 

For Adcolor’s part, Ana Leen, vice president of partnerships, said the community is only growing stronger. 

 

“What we’re seeing with these community groups is there is such a hunger to connect to learn from each other to support each other. The networks that the Adcolor community builds are really strong and supportive,” she said. 

 

People are also becoming more vulnerable, Leen added, pointing to individuals asking for help on LinkedIn amid layoffs and job uncertainty. “We are seeing people very willingly help out a stranger just because they’re part of this community,” she said. 

 

This sense of mutual support will sustain Adcolor through challenging periods, she said. 

 

“This is a true community of people who believe in the mission in a way that they’re not just talking about it, they are acting on it,” Leen added.

17470: On Deep-Seated Racism.

 

This campaign for Brazilian Men’s Football Team Corinthians—titled “Racists Have No Seat Here”—was produced by End to End and AREA 23 in Brazil. The concept is explained as follows:

 

After Palmeiras goalkeeper Carlos Miguel was racially abused during a match at Corinthians’ Neo Química Arena—and the individual responsible could not be identified—the club made an indefinite, visible intervention: it removed the seat from the section where the incident took place. In its place is a message reading, “Here, racism has no place. And never will,” along with a QR code that directs fans to educational resources on how to identify, document and report racist behavior during matches. The idea is simple, but hard to ignore: if racism cannot be allowed a place in the stadium, then the seat itself had to go. The empty space becomes the message.

 

The campaign, created with Corinthians and End to End, was developed with AREA 23’s creative leadership and is designed as both a symbolic act and a practical reporting tool turning an unidentified act of hate into a reminder of collective responsibility.

 

To call the tactic “a practical reporting tool” is ludicrous. After all, how many stadium visitors or sports fans might even be aware of the campaign, let alone see the missing seat message?

 

And why would a healthcare agency be involved in such an endeavor, except with the self-absorbed intention to submit the work for awards?

 

If the true objective is communicating people have a responsibility to report acts of hate against racial and ethnic minorities, start by calling out the systemic racism prevalent at AREA 23 and its new parent Omnicom.

17469: The Spirit Of ’76 At Age 26.

 

A campaign celebrating America’s 250th anniversary includes the depicted promotion spotlighting Edward Rutledge, the youngest signer of the Declaration of Independence.

 

The headline asks, “What Were You Doing When You Were 26?”

 

Um, not owning a plantation with slaves and likely engaging in the inhuman violations associated with such privileges.

17468: WPP Designs New Unit, Appoints New Leaders, Extends Same Old BS.

MediaPost reported on the creation of WPP Brand & Design, yet another unit within the single White operating company.

 

So much for the goal of simplifying the flaming dumpster.

 

According to MediaPost, WPP Brand & Design will be run by White women, which might have been touted as a DEIBA+ victory a few years ago.

 

In today’s Adland, such performative PR no longer exists—although the WPP appointments underscore how White women continue to do waaaaay better than people of color in the global field.

 

WPP Brand & Design Appoints 2 To New Leadership Posts

 

By Fern Siegel

 

WPP Brand & Design, led by Global CEO Jane Geraghty, has appointed two executives to new global roles.

 

The WPP Brand & Design collective brings together growing specialist capabilities across leading brands, including Landor, Design Bridge and Partners, amp, ManvsMachine, Coley Porter Bell, BDG, CBA Design, and DeepLocal.

 

The new structure is designed to improve client experience and speed of impact. The appointments are:

 

Emma Beckmann, formerly Global Chief Growth Officer at Landor, has been appointed Global Chief Growth Officer, WPP Brand & Design. Beckmann said the new template “allows us to move more fluidly across capabilities and markets — connecting the right thinking around the client’s problem, rather than asking clients to navigate our structure.”

 

Ann Higgins spent over two decades at Ogilvy, most recently leading its consulting business in EMEA. She joins as Global Chief Client Officer, WPP Brand & Design & Design Bridge and Partners. “In today’s era of the algorithm, brands need to be optimized for machines, strategically positioned in fast-changing markets, and crafted for human connection to capture growth,” she said.

 

“Brand is moving back to the center of business strategy and branding is a top priority for major clients,” added Geraghty. “Our evolved WPP Brand & Design structure strikes a critical balance: the integration of common data, technology and consulting to intelligently scale the business of branding, enabling us to predict financial outcomes of brand decisions. At the same time, championing specialist design craft, delivering bespoke solutions that deeply connect with human emotion.”

 

Both London-based hires report to Geraghty.

17467: WPP = Woman’s Pay Pending.

Adweek reported WPP shareholders approved the pay plan whereby CEO Cindy Rose could collect up to $19.1 million, a figure that differs depending on which source is referenced—The Times or Financial Times.

 

Regardless, shareholders voted in favor despite rejection recommendations from two shareholder proxy advisory groups.

 

As it is, Rose faces a daunting task to meet the bonus incentive requirements, which include raising the single White operating company’s share price by 50 percent.

 

If successful, Rose should be voted Adland Magician of the Year. Or Messiah of the Millennium.

 

WPP Shareholders Approve CEO Cindy Rose’s Potential $14.8M Pay Package

 

The package significantly exceeds predecessor Mark Read’s salary and bonus compensation

 

By Rebecca Stewart

 

WPP shareholders have approved a proposal to pay CEO Cindy Rose a maximum of $14.8 million (£11.1 million) a year.

 

The pay package sets Rose’s base salary at $1.7 million (£1.25 million) with total compensation rising substantially if short- and long-term bonuses are paid in full.

 

This marks a significant increase on the maximum $10.8 million (£8.6 million) payout earmarked for Rose’s predecessor, Mark Read, before his exit in September 2025.

 

The vote took place during WPP’s annual general meeting, hosted in London. 75% of shareholders voted in favor of changes to the company’s executive director pay structure.

 

Read the full Adweek report here. 

17466: Overreaction Of The Week.

   

This Adweak post is hilarious—albeit probably unintentionally—for the depiction of an Agency Management Team.

 

One White guy accompanied by Blacks and Asian Americans?

 

The revision below would’ve been more accurate—and funnier too.

 

17465: Help Wanted At WPP…?

 

Here’s more evidence WPP restructuring lacks strategic and intentional execution—rather, it’s a flaming dumpster.

 

For starters, the single White operating company recently launched WPP Commerce, stating the integrated unit was designed to collaborate across WPP’s four main parts: WPP Media, WPP Creative, WPP Enterprise Solutions, and WPP Production.

 

Okay, except VML—which was recently folded under the WPP Creative banner—still offers commerce capabilities. In fact, the White advertising agency just posted the job listing depicted above for a Creative Director (Commerce).

 

WPP CEO Cindy Rose claims the company is embracing simplicity—with ambitions of being a trusted growth partner for clients in the era of AI.

 

Somebody should explain to Rose that trust comes from consistency, integrity, empathetic caring, and transparency. Internally and externally.

 

It’s that simple.

17464: The Real WPP Story—From An Unreal Perspective.

 

Adweek published a perspective from its resident marketing professor-fractional consultant-uninformed analyst—who, incidentally, seems open to selling his columns to any trade journal or business publication seeking pseudo thought leader content—speculating on the WPP never-ending story.

 

There’s even a disclosure-disclaimer indicating his wannabe MasterClass services are available—probably at subscription rates—to White advertising agencies.

 

The author declares the real WPP story is not about revenue decline; rather, it’s margin.

 

In recent months, WPP presumably won and retained business via low-balling tactics, but will clients eventually cough up mo’ money and pay standard costs?

 

Surely Eviscerate28 does not intend to position WPP as the bargain basement brand among competitive holding companies.

 

Yet the author—having zero real-life experience in Adland—appears to miss the true plot.

 

It’s not whether clients will pay more—indeed, it’s will clients pay at all?

 

As previously mentioned, WPP has led the commoditization of Adland.

 

Now, the single White operating company has nothing unique to provide—at any price tag.

 

The only people profiting from WPP are Monday morning marketing quarterbacks. And the most annoying are those who’ve never played in the ad game.

 

The Real WPP Story Is in the Margin, Not the Revenue

 

Despite promising around $675 million in savings, the only question that matters is whether clients will pay more

 

By Mark Ritson

 

Disclosure: Mark Ritson’s MiniMBA course has been offered to Omnicom Oceania staff. Omnicom is a competitor to WPP.

 

When WPP posted its first-quarter numbers last week, one line did all the talking. Net revenue down 6.7% like-for-like. Its key unit WPP Media is down 8.5%. 

 

The company described this performance, with commendable composure, “ahead of expectations.” Which tells you everything about the expectations now governing the big end of advertising.

 

The more instructive story isn’t the revenue decline. It’s margin. 

 

WPP’s full-year 2025 headline operating margin came in at 13%, down from 15% in 2024. 

 

Two hundred basis points in 12 months—the kind of compression you associate with recessions or category collapse, not with a company that has a turnaround strategy in-market. 

 

The Elevate28 strategy, unveiled in February, promises around $675 million in gross annual savings by 2028 at a cash cost of around $540 million to deliver. CFO Joanne Wilson told analysts that staff bonuses suppressed in 2025 will need to be rebuilt through 2026. That cuts both ways: employees get paid properly again, but the lever WPP used to protect margin last year is now spent.

 

On the Q1 call, Adrien de Saint Hilaire of Bank of America asked the question every CMO should be asking. Revenue with WPP’s top 25 clients was down low single digits even excluding losses. 

 

What drove the decline? Reduced scope of work, fee pressure, or outright budget cuts?

 

The answer determines whether WPP has a cyclical problem or a structural one

 

Scope reductions are cyclical: clients buying less of the same thing. Budget cuts are cyclical: economies contract, marketing contracts with them. 

 

Fee pressure is structural: clients paying less for the same thing. That is a different animal entirely. It doesn’t respond to patience or strategy decks.

 

The answer, given on the Q4 2025 call, from Cindy Rose herself, confirmed it was all three—and that WPP anticipates “some downward pricing pressure from AI productivity,” which it plans to offset through cross-selling and capturing more of clients’ addressable spend. Translation: fees are falling, and the plan is to win volume elsewhere in the client’s wallet to compensate.

 

The numbers make the case plainly. On a like-for-like basis, gross revenue declined 4.0%, while net revenue declined 6.7%.

 

Pass-through costs—the media and production money flowing through WPP’s books to third parties—are holding up better than the agency-fee line. Clients are still spending. WPP is just earning less per dollar of that spend.

 

WPP is winning business too: the U.K. government media account, Reckitt, Estee Lauder, Jaguar. Revenue is still falling. Winning accounts while revenue drops is the diagnostic signature of a business defending share by cutting price. Every account won on tighter terms resets the floor for the next pitch.

 

Volume losses are real. Wilson flagged a 500 to 600 basis-point drag from gross client losses in 2026, up from 300 to 400 last year. Major U.S. and U.K. accounts walked. CPG and telecom, media, and entertainment spend is genuinely weaker. 

 

Fee pressure and volume loss are not separate stories 

 

They are the same story told twice. Clients negotiate harder on price, and walk when WPP won’t move, for the same reason: the holding company proposition has lost its differentiation. 

 

Accenture Song owns the top of the funnel with strategy and tech. In-housing has gutted the middle, capturing retainer budgets clients once handed over without a second thought. Meta will take the rest. AI is eating production and media planning from below. WPP, like every big agency peer, faces a decade of simultaneous price and volume compression because it is no longer the default answer to a question only it can answer.

 

Elevate28’s $675 million in savings is a margin-defense operation—buying time while structural pricing erodes the top line. It can absorb a year or two of compression. It cannot solve what is causing it.

 

The harder task, the one WPP’s leadership avoided for a decade, is rebuilding a reason for clients to pay full price. WPP Open and the Adobe partnership are moves in that direction. Whether they produce a defensible category-of-one position, or simply make the cost reduction on commodity work cheaper to execute, is the question the market is now asking every holding company. Quarter by quarter. Pitch by pitch. Margin point by margin point.