Thursday, October 22, 2026

17638: Lavazzapalooza Leaves WPP’s Cup Half Empty.

 

MediaPost reported Italian coffee brand Lavazza awarded its global media duties to Omnicom Media, saying arrivederci to incumbent WPP.

So, lots of WPP drones may soon be leaving the global flaming dumpster in search of barista jobs.

Omnicom Wins Lavazza’s $110 Million Global Media Account

By Steve McClellan

Iconic Italian coffee brand Lavazza has awarded its global media business to Omnicom Media following an eight-month competitive pitch led by Ebiquity and involving multiple holding companies, including incumbent WPP. 

The assignment calls for Omnicom Media to support Lavazza across Europe, The Middle East and Africa, North America, and Asia Pacific through a globally coordinated, full-funnel model led from Italy.

Lavazza media expenditures in 2025 were approximately $110 million according to agency research firm COMvergence. 

OM’s strategic approach, integration capabilities across markets including retail media were cited as factors weighing in the agency’s favor.  

The Lavazza award is the latest in a string of global and regional awards and retentions for Omnicom Media this year. Earlier wins include Adidas, Delta, Dyson, IBM, L'OrĂ©al DACH, Mercedes Benz, Novo Nordisk, Uber and Xiaomi – totaling more than $7.5 billion in billings.   

Lavazza revenue totaled 3.9 billion euro ($4.38 billion) in 2025, up 15.7%. Also last year the company extended its endorsement deal with Italian tennis great Jannik Sinner (pictured above) through 2030.

Wednesday, October 21, 2026

17637: On The Trend For Pitching Pitches.

 

Advertising Age reported Publicis Groupe CEO Arthur Sadoun opined on the “trend” of White holding companies being awarded global brand assignments sans traditional pitches.

As previously noted, account reviews for major chunks of business have become closed affairs, exclusive privileges available only to a handful of White holding companies.

Because M&A reduced the number of big players, clients are left with even fewer choices.

The commoditization of Adland makes the limited options indistinguishable too—all White conglomerates look alike.

So, it’s not surprising matters progressed to the next level—that is, shootouts are deemed pointless exercises.

During the Omnicom acquisition of IPG last year, the Competition and Markets Authority (CMA)—a UK regulatory organization—launched an investigation to determine if the deal would impact industry competition.

The acquisition was ultimately approved, yet competition has clearly been impacted.

Corporate Cultural Collusion is increasingly the norm—standard operating procedure now openly recognized and executed by conspiring participants.

Non-White advertising agencies—as well as most independent White advertising agencies—are effectively eliminated from consideration. Or relegated to consultants of color and/or Prime Redlining victims.

What’s happening today is not a trend; rather, it’s an evolution of underhanded practices and fortification of systemic racism.

Publicis CEO Arthur Sadoun on why more clients are choosing holding company solutions without pitches

By Brian Bonilla

Publicis Groupe is seeing major marketers move away from formal account reviews, instead opting for in-depth conversations with agencies they already consider the right fit. Arthur Sadoun, its chairman and CEO, attributed this trend to the consolidation of rival holding companies Omnicom and Interpublic Group of Cos., along with shifting technology needs from marketers.

“What I find remarkable—in terms of trend—is that you have more and more clients that know what they want to do,” Sadoun said in an interview, declining to comment on specific clients.

His comments come after Publicis won Microsoft and PepsiCo, two of this year’s major account moves, without traditional review processes.

Clients are now realizing “it’s way more efficient to spend their time and their money digging deeper and ‘kicking the tires,’ as they like to do, on the partner they are interested in, rather than this kind of tap-dancing beauty contest that we all know, that lasts for months, that is a distraction, and that at the end of the day normally gets you to the partner you were preferring at the beginning anyway,” he said.

The three largest global agency holding companies—Omnicom Group, Publicis Groupe and WPP—accounted for 91% of holding company media wins in the first half of 2026, up from 74% a year earlier, according to COMvergence data cited by Publicis. (Accenture Song, the industry’s No. 2 player behind Omnicom according to Ad Age Datacenter’s latest Agency Report, sits within consulting giant Accenture and therefore isn’t considered a traditional agency holding company.)

“I think we should all be very thankful to Omnicom for this move, because it is the entire industry that is benefiting from it today,” he said. The benefit of fewer players, he said, is that “there is a very clear differentiation in terms of positioning among the three,” which results in “an increasing number of clients who know exactly what they want for their business. And that means that they truly understand the difference between the different models.”

This clarity, he said, is boosting Publicis’ growth outlook. Publicis generated more than €400 million (over $446 million) in net new business during the first nine months of the year, the company reported today. It anticipates these wins to account for 2 percentage points of organic revenue growth in 2027.

Publicis reported organic net revenue growth of 5% in the third quarter and reaffirmed its full-year 2026 guidance of 4.5% to 5% organic net revenue growth.

Publicis also reported a client retention rate close to 100% for the first nine months of the year, which Sadoun said is more meaningful than individual account win announcements, which can create a misleading impression of an agency’s overall business performance. “This race for new-business press releases is a kiss of death,” he said. “Because it gives a false impression of dynamics, meaning what matters is not what you win; it’s the net between what you win and what you keep.”

He said new business contributes slightly more than a third of Publicis’ growth, with the remainder coming from existing client relationships. That dynamic is particularly evident in creative services. Publicis’ Intelligent Creativity business, which accounts for 25% of group net revenue, recorded low-single-digit organic revenue growth in the third quarter.

Sapient’s growing role in new business

Publicis is integrating its technology consulting business, Sapient, more closely with its media and creative operations to meet the rising demand for AI-driven marketing transformation. This approach is helping the company secure new assignments, often without the need for formal pitches, Sadoun said.

“We don’t have a brief where the AI transformation question is not raised,” he said. “And one of the reasons why we’re winning—and sometimes without pitches—is because not only do we have the data, but we have the engineers and the technology to make it work.”

In production, Sapient is developing technology that allows clients to customize content at scale using data. On the media side, it is helping clients modernize technology infrastructure to enable more personalized advertising. “Production is not about studios anymore,” Sadoun said. “We all have great studios. The question is: do you have the right tech platform to deliver at-scale customization connected with the data?”

The strategy is beginning to translate into improved performance for Sapient. Publicis’ technology business, which represents 13% of the holding company’s net revenue, returned to growth in the U.S. during the third quarter. Globally, the practice remained slightly negative as clients continued to delay more expensive enterprise transformation projects, but Publicis expects the business to resume growth in the fourth quarter.

Tuesday, October 20, 2026

17636: On Buying Back Freedom From Omnicom.

Advertising Age reported Jordan Zimmerman bought his White advertising agency back from Omnicom.

Zimmerman probably steered his luxury yacht and flew his private jet to Omnicom headquarters and handed a briefcase full of loot to Omnicom Chairman-CEO-Pioneer of Divestiture John Wren.

Inside Zimmerman’s decision to leave Omnicom

Jordan Zimmerman has bought Zimmerman Advertising back from Omnicom 26 years after selling the agency to the holding company, he confirmed to Ad Age.

Zimmerman said he started the conversations because he wanted more freedom to steer the shop, which he founded in 1984, into its next phase. The agency works with clients including McDonald’s, Planet Fitness, Office Depot, Blue Compass RV, Six Flags and Unleashed Brands.

The buyback will let Zimmerman invest further in the agency’s ID Graph, which he said reaches more than 90% of U.S. adults, as well as hyperlocal targeting and measurement and AI-enabled creative and production. It also gives the shop “more control over the talent we bring in and how we structure client relationships.”

Omnicom declined to comment on Zimmerman. The agency group has been pruning parts of its portfolio since acquiring Interpublic Group of Cos. late last year; in January, experiential shop Jack Morton separated from Omnicom in a private equity-backed transaction.

Monday, October 19, 2026

17635: On Changing C-Suites In Adland.

 

More About Advertising wondered about the adverse effects of C-suite revolving doors, musical chairs, and restructuring redundancy RIFs.

Management expert Peter F. Drucker recognized the leadership challenge of striking a balance between change and continuity.

White holding companies are striking out in that area.

Is the spate of senior hires having the right effect?

By Emma Hall

WPP has very recently promoted media boss Adam Gerhart to global chief client officer and appointed Veriça Djurdjevic (ex-Channel 4 and PHD) as UK Media’s chief client officer, while Tyler Turnbull is the new head of WPP Creative. Over at MSQ, Stagwell EMEA CEO Peter Reid has joined as group CEO.

Much is made of these senior hires, always positioned as being an important step for clients, helping to deliver growth, and being part of a grand plan Ă¡ la WPP CEO Cindy Rose’s “Elevate 28”. But word from inside the agencies is that clients are getting mightily fed up with losing the people they trust and work with every day as redundancies deplete teams and drain morale.

When agencies are facing so much change, it makes sense to make big changes around structure and staffing – and sometimes there are clear gaps to fill. But it’s less logical to lose sight of the employees who are the glue of agency life.

Sunday, October 18, 2026

17634: Monks Seeks Monkeys…?

This actual job listing for Monks is labeled “Future Position: Creative Director.”

The description also explains:

This posting is not tied to a current open role, but is an opportunity to join our talent pool for future positions. By applying, you’ll be considered as opportunities that align with your experience that become available.

First, the person who drafted the job listing could benefit from tapping a Creative Director with copy experience. Or they could’ve used AI, no?

Second, given the shaky financial state of parent company S4 Capital, a future opportunity with Monks is far, far away—and may never materialize.

Finally, any potential position probably pays peanuts.

 

Saturday, October 17, 2026

17633: Top Ten BS @ VML.

Cannes Lions International Festival of Creativity ranked VML New York the top White advertising agency in the US. VML Chief Creative Officers nabbed Top Ten honors too.

WTF.

The awards say a lot about Cannes Lions and VML—as well as the sorry state of Adland.

Sorry, but many lauded leaders at VML inherited success via mergers, acquisitions, and restructurings versus talent, performance, and integrity.

It all begs the question: Why is VML Global CEO-WPP Creative CEO Jon Cook bailing out?

He’s clearly in the running for top bullshit artist.

Friday, October 16, 2026

17632: Got Multicultural? LERMA/ Wins Real California Milk.

MediaPost published unintentional Hispanic Heritage Month content by reporting LERMA/ gained AOR status for Real California Milk, the consumer-facing brand of the California Milk Advisory Board (CMAB).

LERMA/ once served as a Latino-focused advertising agency alongside The Richards Group, eventually breaking away on its own around the time Stan Richards left the building.

Here’s hoping Real California Milk comes with more than real California crumbs.

LERMA/ Named AOR For Real California Milk

By Steve McClellan

Dallas-based full-service agency, LERMA/ has been named agency of record for Real California Milk, the consumer-facing brand of the California Milk Advisory Board (CMAB), following a competitive review led by Mercer Island Group.  

The organization had previously worked with Deutsch LA for many years although it wasn’t immediately clear if that agency was still the incumbent when the review was called or if it participated in the review. 

The account encompasses creative, strategy, social, media, data and analytics, multicultural marketing and website responsibilities.  

LERMA/ is tasked with building greater meaning and relevance around the Real California Milk seal, with the goal of increasing consumer preference and purchase of seal-stamped dairy products at retail.  

“LERMA/ stood out from the beginning for the passion they brought to our business and their understanding of the opportunity ahead,” said Adrienne Daniels, Executive Vice President, Marketing at the CMAB. “Beyond the strength of the creative thinking, we felt an immediate cultural fit with the team.”  

The first work from the partnership is expected to launch in January 2027.  

The CMAB represents California dairy farmers, and its mission is to promote demand for milk and other dairy products made in the state. That’s a separate organization from the California Milk Processor Board (CMPB) which represents the companies that pasteurize, bottle, and distribute liquid milk. Their iconic “Got Milk?” campaign was created by Goodby Silverstein & Partners in the 1990’s. CMPB and Goodby parted ways in 2017 after 25 years.

Thursday, October 15, 2026

17631: On Complaints, Crisis Management, And Conversations.

 

Advertising Age published a thoughtful perspective on cultural cluelessness, unintentionally underscoring how bias can come from the offenders and offended alike.

A complaint about your ad is information—it is not a verdict

By Stephen E. Terrell

In the fall of 1994, I put a naked man on a billboard in Fort Lauderdale. He lasted six days.

In fairness, he had already lasted 158 years. He was the young man seated by the sea in a Hippolyte Flandrin painting from 1836 that hangs in the Louvre, where to my knowledge nobody has ever called 3M about it.

The board was for Page & Associates, a Cleveland company that bought life insurance policies from people who were dying, so they could have the money while they were still alive to spend it. In 1994, that mostly meant gay men with AIDS. The copy ran five words: “Terminally ill ... there are options.” Then a phone number. No logo the size of a Buick. No starburst.

I chose the painting because my audience already knew it. For years, a print of it on a gay man’s wall was a signal flag hidden in plain sight. Any other gay man who walked into that home knew exactly what it meant. Everyone else saw a nice museum reproduction. I took the flag off the living room wall and ran it up a billboard. A man driving past did not need a headline to tell him who the board was for. The same ad had been running in gay magazines. Companies like mine were buying so much space there that Ad Age covered it that May. The billboard was that magazine ad with the volume turned up. The University of Miami Business Law Review later recorded it as the first billboard for a company in that business.

The location was not an accident, either. I put my boards in the gayest neighborhoods I could find. This one was aimed across four lanes of highway at the Copa, the biggest gay disco in South Florida. You find out where your audience dances, and you face the board that way.

It also happened to stand directly above a sports bar.

The owner complained. He told the local paper that the message was one thing but the naked man was tasteless. 3M, which owned the board, took it down six days into a 60-day contract.

Today, that is where the story ends. The brand posts a statement. The creative disappears. Somebody junior gets blamed, and everyone is at lunch by noon.

Here is what happened in 1994. The board went back up the next day. Nobody apologized. Nobody painted on a fig leaf. The company’s attorney made a call, and then a 3M representative did something radical. He sat down with the bar owner and explained what the ad was for. According to 3M’s spokesperson at the time, the owner had not fully understood it. Once he did, he agreed to have it back.

One conversation, 24 hours, same naked man.

That bar owner taught me three questions I still ask before anybody touches a campaign.

Who is complaining? The man downstairs was not my audience. My audience was across the highway, in line at the Copa.

Do they understand it? He saw a nude. He did not see men in his own city who were out of money and out of time. Somebody told him, and he changed his mind. People do that more often than a crisis plan assumes.

Is the audience you built it for complaining? Because when they are, you pull it, and you say thank you. I have done that, too. Years later I tested a Betty White radio spot on “The Rush Limbaugh Show.” It delivered 20-30 solid leads every time it aired. Then her fans started calling with one question: “Does Betty know?” I pulled it. The numbers said stay. The audience said go. The audience outranks the numbers.

Treat those two complaints the same way and you will kill your best work and keep running your worst.

Brands spend years and millions asking people to trust them. Then one stranger raises his voice and the brand drops its own work like a hot casserole. The audience notices. If you will not stand behind your ad for 24 hours, why would anyone stand behind your brand for 24 years?

The painting, for the record, is still in the Louvre. Still naked. Still up.

Wednesday, October 14, 2026

17630: How To Partner With Non-White Advertising Agencies.

 

Advertising Age published probable Hispanic Heritage Month content providing pointers on partnering with multicrumbtual advertising agencies.

While the perspective spotlighted common mistakes, potential pitfalls, and marketing microaggressions, there were no blatant references to cultural cluelessness, crumbs, or Prime Redlining.

So, it sorta feels like whitewashing systemic racism.

When to partner with a multicultural agency—and how to structure the work

By Sabrina Sanchez

For many agencies, creating campaigns for multicultural audiences is a challenge. Some handle it in-house, translating existing work or trying to tack on cultural relevance at the end. But agencies that specialize in multicultural work say that approach leaves little room for cultural insight to shape the strategy. Ad Age asked three members of the Ad Age Small Agency Network with Hispanic and multicultural expertise—Cien+ (CulturePlus Group), BeautifulBeast and MacĂ­as Creative—when to call in a partner, how to divide the work and how to manage the client relationship. The following guide was assembled from their answers.

Step 1: Check when the work calls for a partner

MacĂ­as Creative leaders—Marcos Macias, founder and chief creative officer; Alex Macias, managing partner and chief operations officer; and Ernesto Ruiz, executive director of strategy and accounts—identified three situations that call for cultural expertise:

If the assignment explicitly targets Hispanic or multicultural audiences

Bring in a partner while developing the strategy.

If growth depends on a market where Hispanic consumers are a major economic force

Bring in cultural expertise, even if the brief does not explicitly name that audience. MacĂ­as Creative cited markets such as California, Texas, Florida, New York and the Southwest where winning with Hispanic consumers can be critical to growth.

If cultural nuance is central to the strategy or idea

Consider a multicultural agency partner, even if the brief does not name a particular audience. MacĂ­as Creative pointed to cultural spaces involving food, family, sports, music, identity and traditions—all of which are places where deeper fluency can help shape the work.

The agency also offered signs that a team may need outside expertise:

• If research is being used as a substitute for established cultural expertise.

• If a few Hispanic people on the team are being treated as proof of Hispanic marketing capability; that capability also requires dedicated expertise, experience, tools and processes.

• If the U.S. Hispanic market is being approached as one audience, without accounting for differences in country of origin, language preference or relationship to American culture.

Another sign, MacĂ­as Creative said, is asking someone at the end of the process whether the creative “feels right.” That person “probably needed a seat at the table much earlier.”

Flor Leibaschoff, BeautifulBeast’s co-founder and CCO, said general-market agencies should not wait for a sign; they should already be working with Hispanic and multicultural agencies. To her, a plan built around translating general-market work, rather than developing a strategy for the audience, already shows the need for a different approach.

Claudia Avans of Cien+ posed a broader question: “Do we have the right perspectives at the table for this opportunity?” Cultural insight can help an agency understand a particular audience, she said, and it can reveal shifts that matter to the wider market.

Step 2: Decide whether you’re creating or adapting

How an agency approaches its creative determines when a multicultural partner needs to join and what they can contribute.

If the work needs a new strategy, platform or idea that will resonate with Hispanic audiences

Bring the partner in from the beginning while the insight and creative direction are still being developed. “If a perspective could change the strategy, give it a chance to shape the strategy,” Avans said.

If the assignment involves adapting an existing idea

For an assignment focused on adapting an existing idea for a specific audience or market, bringing in that expertise later can sometimes make sense, MacĂ­as Creative said. Even then, MacĂ­as Creative said both agencies should discuss the audience’s needs and agree on their approach at the outset. The partner should help determine whether adaptation is the right assignment.

Joining early lets a partner help shape the insight, idea and plan. Once creative is underway, their role can narrow to changing what has already been decided. “They become translators and fixers instead of strategists,” Leibaschoff said. If collaboration cannot begin at the pitch or strategy stage, she said, bringing the partner in for the brief is the minimum.

Step 3: Agree on how the agencies will work together

The next decision is what expertise the assignment needs, and how each agency will contribute.

If the assignment calls for several kinds of expertise

Avans described several ways to assemble a team: a lead agency can bring a cultural partner into the strategy phase; two agencies can build the brief together and split leadership by expertise; a partner agency can join for a few critical sessions; or different partners can lead at different stages. A cultural agency might also bring in a technology, data, creator or community partner when the work calls for it.

If the question is who works directly with the client

Leibaschoff named three arrangements she has seen work: an introduction, where the general-market agency connects the partner agency with the client and lets it work with them directly on that part of the business; white-label work, where the partner agency works behind the scenes under the lead agency’s name; or a hybrid, where the partner meets the client but the lead agency keeps the relationship. Any arrangement can work “as long as it’s agreed on from the start,” she said. Cien+ has also worked both behind the scenes and directly with clients, depending on the assignment.

MacĂ­as Creative draws a different line. It will not take an assignment where its team has no direct client contact, at least for key meetings. The agency says passing cultural insights through another team can weaken the collaboration and reduce the partner agency to an execution role. One setup MacĂ­as Creative described involves a small senior team working alongside the lead agency from the strategy stage.

Before work begins, agree on who owns the client relationship, who presents the cultural insight, who makes decisions, how feedback and approvals move, how the work is credited, and how fees and billing will work.

Those choices can lead to different arrangements. In a healthcare partnership described by Cien+, the agencies led the general and Hispanic market work respectively and shared the client relationship. On a consumer goods launch described by MacĂ­as Creative, the lead agency kept the client relationship and led strategy, creative and execution, while a senior MacĂ­as team contributed cultural insight from the strategy stage.

Step 4: Avoid the mistakes that weaken partnerships

The agencies pointed to five recurring problems:

1. Bringing in expertise too late—or giving it too little time. Once strategy and creative are set, a cultural partner has little room to shape either.

2. Leaving roles and fees unclear. Responsibilities, decisions, client contact and billing need to be settled before work begins.

3. Falling back on translation under deadline pressure. Even with a partner agency involved, a team may revert to translating general-market work, reducing that partner to a translation role.

4. Creating a one-person department. A single Hispanic employee is expected to cover strategy, creative, media and social listening. “That’s a lot of hats for one head,” Leibaschoff said, “and it’s not fair to them or to the work.”

5. Treating the partner as competition or as an execution vendor. “If you value the expertise enough to bring in a partner, give them a real seat at the table,” MacĂ­as Creative said.

Step 5: Consider what the partnership can add

Sharing work with another agency may raise concerns about revenue and the client relationship. Leibaschoff argued that the greater risk is failing to help a client pursue the opportunity: the client may eventually find someone else who will. “It’s not about splitting the pie; it’s about making the pie bigger,” she said.

MacĂ­as Creative made a similar point: work that initially looks like shared revenue may lead to additional, dedicated budget for multicultural efforts.

Avans framed the benefit in terms of what the lead agency can solve for its client: “The lead agency becomes even more valuable because of the ecosystem it can bring together.”

This story used AI-assisted tools to summarize and structure insights from Ad Age’s original reporting. It is based solely on the responses Ad Age received for this story, and was reviewed by editors and reporters to ensure accuracy, clarity and context.

Tuesday, October 13, 2026

17629: On Grey Matters.

Advertising Age reported on executive moves at Grey that were overshadowed by the resignation of  VML Global CEO-WPP Creative CEO Jon Cook, adding accelerant to the global flaming dumpster.

Back in 2020, Grey almost vanished via plans to fold the White advertising agency into AKQA—until staffers and clients protested. The merger reignited in 2024–2025 and dissolved in 2025 when Grey shifted under the Ogilvy Group banner.

Now it appears even Grey employees don’t wanna be associated with Grey, as the Global Chief Creative Officer bailed out to launch his own White advertising agency.

Meanwhile, other Grey executives were shuttled to different positions within the single White operating company.

Instead of asking, “Pardon me, would you have any Grey Poupon?” the question is, “Pardon me, would you have Grey pooped on?”

Grey’s global chief creative officer leaves to start his own agency

By Brian Bonilla

Multiple leadership changes are underway at Grey, according to an internal memo Laurent Ezekiel, global CEO of The Ogilvy Group, sent this morning, which Ad Age obtained.

Most notably, Gabriel Schmitt, Grey’s global chief creative officer, is leaving to launch his own agency, Ezekiel wrote in his memo. Schmitt’s departure from the WPP agency is effective Oct. 1.

“For a creative of Gab’s caliber, this marks a natural evolution in his leadership journey, which we are proud to champion,” Ezekiel wrote.

Schmitt wasn’t immediately available for comment. He joined Grey as global CCO in March 2023 after serving as co-chief creative officer of FCB New York. During his tenure, Grey produced work including Anheuser-Busch InBev’s “For Every Golden Moment,” which Ezekiel described in his memo as the brewer’s biggest-ever global campaign, as well as “SOS POS” for BCP Bank, which won a Creative Data Grand Prix at the 2026 Cannes Lions International Festival of Creativity.

Two other Grey leaders are making moves within WPP. Global Chief Client Officer Jason Kahner and Global Chief Strategy and Data Officer Jonathan Lee will move into dedicated WPP global client and strategy leadership roles for Henkel and Kenvue/Kimberly-Clark, respectively, according to Ezekiel’s memo. Those transitions will take place over the next few months.

‘Grey remains Grey’

The moves represent another step in Grey’s integration with Ogilvy, which began in May 2025. The agencies have maintained their individual brands while increasingly operating as part of a broader Ogilvy Group.

Grey’s creative leadership will now report to Liz Taylor, Ogilvy’s global chief creative officer. This officially leaves Grey without a traditional global leadership team; its global CEO, Laura Maness, departed last year.

“Broadly speaking, reporting lines will remain as is—in most instances, routing directly through local office leadership and respective regional structures, and ultimately up through me,” Ezekiel wrote. “This gives teams the autonomy and ability to make decisions closer to client and other local considerations.”

The latest changes are intended to give Grey’s regional and local offices greater responsibility while connecting them more directly with Ogilvy’s broader capabilities, Ezekiel said. Grey’s local office leadership and regional structures will remain intact, according to the memo. Its teams will also continue to pitch for business and produce work under the Grey name, and its culture, social channels and email signatures will remain unchanged.

Grey teams will also have increased access to The Ogilvy Group’s capabilities across sports and entertainment, PR, health and innovation, as well as WPP’s technology offerings.

“Grey remains Grey,” Ezekiel wrote. “Day to day, Grey teams will continue to identify, pitch, win and create work as Grey.”