16922: Overreaction Of The Week.

 

Digiday published a lead-in for the WorkLife report on Adland responses to the WPP RTO policy titled: Industry clutches pearls after WPP returns to office four days a week.

 

Industry clutches pearls?

 

While the phrase has gained cross-cultural and gender-neutral status, Wiktionary states its origin as follows: From the stereotype of a woman who wears pearls and is easily offended.

 

Given Adland’s gender inequality issues—as well as intersectionality exposed via the privileges enjoyed by White women in the field—surely Digiday editors could have hatched a better headline.

 

Cast not pearls before swine…?

 

Industry clutches pearls after WPP returns to office four days a week

 

By Tony Case

 

WPP’s announcement requiring employees to return to the office four days a week has sent shockwaves through the advertising industry, spotlighting a deepening divide between corporate-owned and independent agencies on workplace flexibility. While some leaders argue in-person collaboration fuels creativity, critics view the move as outdated and morale-crushing.

 

Employees have voiced frustration over the abrupt policy from the agency holding group, citing poor communication and personal challenges, with some questioning whether “creative collaboration” outweighs childcare needs or two-hour commutes. Meanwhile, independents see an opportunity to attract disillusioned talent championing flexible models that balance productivity with personal well-being.

 

As WPP braces for potential backlash — including a petition with over 15,000 signatures — the industry grapples with a critical question: can rigid mandates coexist with the evolving expectations of the modern workforce? For now, the battle lines are drawn, with the future of talent and agency hanging in the balance.

 

Read the fully story.

16829: Just Another Mad Men Monday 7.

 

Peggy Olson and Joan Harris rose from secretaries to Copy Chief and Director of Office Operations–Partner, respectively. Dawn Chambers rose from Don Draper’s secretary to Personnel Manager in a performative DEI move.

16685: A Guide To Understanding Exclusivity At Cannes.

 

Campaign published a performative PR perspective on a ‘difficult yet essential subject’—sexual harassment at Cannes Lions International Festival of Creativity.

 

Seems White women are damsels in distress at the iconic awards soiree. Although their alleged trials and tribulations pale in comparison to the bullshit thrown at women of color.

 

A couple of advocacy groups teamed up to create a guide to understanding sexual harassment. Yeah, that should solve matters. Expect opportunistic morons to submit the heat shield for a Glass Lion.

 

To underscore how White women are prized and prioritized over racial and ethnic groups, it should be noted that no one has volunteered to publish a Green Book for non-White festival attendees.

 

Oh, and security should’ve kept an eye on all FCB and former DraftFCB visitors.

 

Sexual harassment at Cannes: a ‘difficult yet essential subject’

 

By Karen Stacey

 

There are a lot of inspiring lessons to be learned at Cannes, but we shouldn’t ever let the hectic schedule and fun make us lose sight of what is truly important; taking personal responsibility for our actions, and taking responsibility for those around us.

 

So, before we all get our delegate badges and start scheduling talks and seminars, it’s vital that we’re all fully educated about this difficult yet essential subject. This isn’t just for visitors and managers on the ground, it goes for senior leaders back home, too.

 

We know that, sadly, sexual harassment still exists and it can happen anywhere, but the risks rise when alcohol is free-flowing and people are away from home. We also know that what starts as a fun trip can quickly become a nightmare for anyone who experiences sexual harassment.

 

That’s why this year, Cannes Lions has teamed up with TimeTo and Wildstorm PR to create an invaluable guide to understanding the issues around sexual harassment. Not just in Cannes, but anywhere outside of the office where the drink is flowing and the inhibitions are dropping.

 

The move is designed to create and foster a supportive environment of respect and accountability, where anyone attending in any capacity feels secure and empowered to enjoy themselves safely and to speak up about sexual harassment, should they need to.

 

The onus shouldn’t solely be on individuals. People need to trust that employers, event organisers and others with a duty of care are looking out for them. Everyone attending must play a part in addressing this issue – either by stepping in if they see it happening, or stopping if they are perpetrating it.

 

That is what this guide does so well. It helps navigate the grey areas around sexual harassment by splitting its core messaging into three distinct sections tailored to employers, employees and delegates. Each section offers a specific focus for that audience and provides guidance for before, during, and after the festival.

 

Examples of guidance include advice before Cannes for senior leaders, managers and HR to establish and make clear policies and procedures; ensuring policies including anti-harassment guidance; outlining what constitutes harassment; the consequences for engaging in such behaviour; and the procedures for reporting incidents.

 

It also offers helpful advice for all attendees at Cannes, including connecting with others and having a support system for uncomfortable situations. This year, the WACL Empower Café provides a safe space for those affected by sexual harassment, offering guidance on the next steps alongside the guide’s information.

 

Additionally, it addresses the barriers to reporting sexual harassment. Incidents that occur at the event may not be reported until participants have returned to the UK, highlighting the importance of creating a supportive environment in the moment for any disclosures.

 

If you notice a friend or colleague behaving in a way that’s offensive or inappropriate, and you feel safe addressing it, speak up. You can let them know that their behaviour isn’t acceptable and point out the impact. Sometimes, people need a new perspective on their actions.

 

So, when you’re packing your slides or flip-flops and sunscreen or picking up your lanyard, grab the guide as well.

 

But if you really feel you won’t get anything from it or that you don’t have the time, then maybe just take a few seconds while you’re at passport control or queueing for croissants and think about these things:

 

• Take the safety of your team seriously

 

• Lead by example

 

• Put guardrails in place

 

• Take your own safety seriously

 

• Treat people politely and like human beings

 

• Don’t make people feel awkward – don’t force them to have another drink, listen to what they are saying and read their responses.

 

It’s basically as simple as treating everyone you meet with respect.

 

Karen Stacey is the chief executive of Digital Cinema Media, and outgoing vice-president and incoming president of WACL

 

16570: In Adland, White Women Seize The Day.

Advertising Age spotlighted major brands celebrating International Women’s Day.

 

Don’t recall such enthusiasm from Adland for Black History Month. Oh wait—there was no enthusiasm from Adland for BHM. Or MLK Day. Or Kwanzaa. Or Juneteenth. Or any Black celebratory day of the year—for many, many years.

 

With the exception of Black Friday.

16568: Surfing The Internet & Intersectionality…?

 

Coming Soon Lisboa—an advertising agency in Portugal—partnered with Betclic, Shutterstock Studios, and SOMA Surf to address an unmet need: the abysmal lack of stock images featuring Black girls surfing.

 

Huh?

 

Expect a new wave of possibilities for Black History Month advertising—as well as performative PR during Women’s History Month—provided the photographs are royalty-free content.

 

16566: Perfectly Performative Picture Of Women Leaders In Adland…?

Advertising Age is commemorating Women’s History Month with guest essays by “women industry leaders” sharing their career lessons.

 

Okay, except the image illustrating the series (depicted above) is hardly representative of the women leading in Adland. The image below delivers far greater accuracy—and would be a perfect representation with the addition of many more blondes.

 

16276: Introspection On Intersectionality.

 

Adweek published a perspective from Omelet CEO Thas Naseemuddeen, who presented an interesting interpretation of intersectionality in Adland. Given all the varied takes on the topic, perhaps it should be renamed splintersectionality.

 

The Important Role of Intersectionality in the Ad Industry

 

Omelet CEO on why lived experiences and identities are what make incredible storytelling

 

By Thas Naseemuddeen

 

AAPI Heritage Month is an interesting and reflective time for many of us who exist within the community. It’s special to hear the voices and stories of folks who are doing incredible things for the community and culture at large.

 

It can also be a really interesting time to take a deeper view into the construction of identity.

 

Lived experiences

 

Identity is something that took me some time to fully wrap my head around. I’m Sri Lankan (Canadian). And like many first-generation kids, assimilation into the broader Western culture was my starting point.

 

In the past few years, thanks to a lot of work by a lot of wonderful people, I have been able to feel more comfortable in the multiple parts of my cultural identity. I’m not just a female leader. I’m not just a South Asian person. I’m not just a first-generation kid of incredibly hard-working immigrant parents. I’m not just Muslim. But the aggregation of these things and many many more, make me uniquely who I am.

 

And that doesn’t fit neatly into the box of expectation. I am by definition a bit messy. As a CEO, I feel even farther away from the truths of what I’ve been taught to expect to see in a CEO: the emotionless strength, poise and formality we’ve been taught to seek in leaders. I’m a strange, a little awkward but fully passionate being who brings myself in all my quirky glory to everything I do.

 

I believe this is a part of the conversation that’s often missing or misunderstood when it comes to DEI or JEDI (Justice, Equity, Diversity and Inclusion) and how it shows up in our work. It’s too easy to revert to box-checking of the many spectrums of diversity. But without understanding the nuance of real human stories that underlie every intersection, it’s hard to truly feel seen by advertisers and brands. The manifestations of experience that come from crossing some of these lived experiences and identities are what makes incredible storytelling.

 

Sense of belonging

 

All to say, living on the outside of things can be a strangely lonely place to be. I’m grateful for my own tribe of weirdos who find themselves in a similar (but different) space. In a way, I love being an outsider because it provides a perspective that I believe is valuable in our business of folks who are insiders; it’s forever a healthy distance.

 

It can feel really detached and somewhat negative because in many ways, I haven’t connected in the same ways that others can or let down a certain kind of wall. I’m sure in some of those spaces, I can appear kind of sullen or withdrawn, but it’s not out of anything but not quite knowing if and where I belong. And I’ve felt that way in so many spaces that are built to be welcoming and filled with wonderful people, but it’s that nagging voice that says “They all belong. What on earth am I doing here?”

 

The idea of community, as a result, can feel like a far-away concept. Even when it is built for folks like myself. This makes me remember just how important the nuance of intersectionality is to all of these conversations and the spaces we build to come together.

 

A herculean task

 

Creating cohesion across cultures and identities is a herculean task. Watching events like the Goldhouse Gala a few weeks back and all the activities around AAPI Heritage Month is mind-blowing and underscore the power of community that encapsulates a huge number of intersecting identities and extraordinary humans.

 

Creating a space that holds so many is seemingly impossible. The API community is so faceted, covering an enormous chunk of the earth’s surface as well as its cultural footprint. Goldhouse specifically has done an incredible and mindful job of supporting and celebrating the intersections and interconnectedness of our communities.

 

Intersectionality is an important part of these conversations. Understanding what connects and bonds us and acting on it with specificity. When we see the nuance of intersectionality represented in media and culture (and also in how we gather), it has the power to shift things even more profoundly.

16043: Iranian Women’s Rights Wronged By Adland…?

 

The latest Digiday confessions series installment featured a provocative perspective from an anonymous Iranian-American advertiser who wonders why Adland—particularly in the U.S.—has not spoken out in support of Iranian women’s rights.

 

“I’ve watched every agency step up and speak up about Black Lives Matter, [Asian American and Pacific Islander] hate and feminism,” the confessor confessed. “For me, watching a feminist revolution happening in Iran, it’s like: ‘Where is everyone? Why is no one speaking up?’”

 

MultiCultClassics can offer opinions/answers for such inquiries.

 

First, the BLM and Asian-American and Pacific Islander rhetoric-riddled routines were performative, short-lived gestures—aka box-checking bullshit.

 

As to why backing Iranian women’s rights is not a part of Adland’s feminist cheerleading, well, it’s about intersectionality. That is, feminism from the industry’s point of view exclusively focuses on White women.

 

BTW, why did Digiday introduce a new illustration (depicted above) for its confessions series? The confessor looks like a male detective.

 

‘Fear of saying the wrong thing is eating us alive’: Confessions of an Iranian-American advertiser on the industry’s silence on Iranian women’s rights

 

By Kimeko McCoy

 

The current push for Iranian women’s rights started with Mahsa (Zhina) Amini, a 22-year-old Kurdish-Iranian woman who died while in the custody of Iran’s morality police for wearing her hijab improperly in September, according to reports. Since then, what started as a rumble in protesting her death has erupted, galvanizing Iranian women in what’s being called a women’s revolution.

 

Iran’s unfolding feminist movement has overshadowed the country’s World Cup performance as Iran’s players reportedly didn’t sing their national anthem nor celebrate their goals. Fans in the stands did the same, standing in solidarity with the protests. Major brands like Gucci and Balenciaga have taken to social media to show their support.

 

Meanwhile, US-based marketers and advertisers have remained quiet. At least one Iranian-American advertiser is asking the industry to speak out and make good on the diversity, equity and inclusion promises made at the height of the Black Lives Matter movement in 2020.

 

“I’ve watched every agency step up and speak up about Black Lives Matter, [Asian American and Pacific Islander] hate and feminism,” the advertiser said. “For me, watching a feminist revolution happening in Iran, it’s like: ‘Where is everyone? Why is no one speaking up?’”

 

In this edition of Digiday’s Confessions series, in which we exchange anonymity for candor, an advertiser at a global ad agency talks about the industry’s silence on Iran’s feminist revolution and how it speaks to Iranian erasure in America.

 

This interview has been lightly edited for clarity.

 

Why do you think it’s important that U.S.-based ad agencies speak on Iran’s feminist movement?

 

We work with the biggest brands in the world, our influence is endless. We work with the brands that dictate culture. And we, as an industry, tout ourselves as culture makers. Right now, we are actively behind culture. Culture is at the point where Iran’s resistance is being bolstered, seen, talked about and supported by brands. Yet, those who allegedly create culture aren’t. They made a choice. Right now, it feels like a choice has been made not to say anything.

 

It can be a touchy subject. Do you think that’s why advertisers haven’t spoken up?

 

Iran is complex and the government is very bad. I don’t think anyone is disagreeing with that. People, when they think about Iran, think about the negativity. So they’re scared to speak in solidarity because in doing so, you’re speaking up against, in a way, Iran’s enemies. I’m understanding of why that’s difficult. I’m understanding of why that’s hard. But we’re fighting against that machine. We’re fighting against the Iranian regime, that’s an extremist regime. There’s a lack of understanding and knowledge that’s played into it.

 

[Taking] it back to June of 2020, fear of saying the wrong thing is eating us alive. It’s a cycle. People want to say something, but won’t say something because, “I don’t want to lose my job.” So, if I don’t say something and nobody says something, then nothing gets said. You’re left to yourself and that’s a scary thing — having no one to talk to about it.

 

This is a feminist revolution. It’s complex, of course. It’s just women wanting equality. That’s the baseline of what’s happening in Iran. It shouldn’t be hard for anyone to stand in solidarity with them. It should be easy for all of us, particularly in the West, who embrace feminism, to be able to stand up and [support women].

 

What do you think is the difference between advertisers speaking up for the war in Ukraine vs. what’s happening in Iran?

 

Because it’s a war. There’s a clear enemy in Putin. There’s an ability for industries to speak up against it. Whereas, in this example in Iran, it’s extremism. We’re fighting against extremist Muslim-Islamic rule and that can be challenging. I don’t want to minimize that challenge. The singular enemy of Vladimir Putin is a lot easier to rally [against] than extremist Islam.

 

How would you like to see advertisers and brands use their voice?

 

Right now, it’s about educating, it is about understanding that the Iranian people don’t have the reach that they need to get the message to the world, and brands do. Brands right now do have the power and do have the opportunity. We need to see it as an opportunity in the way that we have historically other DE&I initiatives. There’s an opportunity now to stand up for feminism in a new way. That part is getting lost. That’s an opportunity that people need to embrace. In doing so, it opens the door for people like me to feel more welcome to the space, and for people who otherwise might not have seen themselves in the industry can say, “Oh, there’s support here. There’s a place here for me. If I go there, I’m not going to be seen as other in a negative way.”

15763: Gender Equality Intersectionality…?

 

This International Women’s Day campaign from Nigeria is clever. But would Black women really have a significantly greater advantage in the workforce if they were Black men? Um, not necessarily in Adland. The concept might have been even more impactful if the Black women were Photoshopped with the features of White men…

14954: Is The 3% Movement Hijacking The Civil Rights Movement?

Adweek reported Kat Gordon is driving her White women’s bandwagon to the corner of intersectionality in Atlanta. Sorry, but Gordon’s understanding of intersectionality and women of color is, well, less than 3%. And it figures that the 3% Movement’s ride toward true diversity will likely be postponed—and sent into reverse—by COVID-19. Perfect.

3% Conference Heads to Atlanta in Effort to Solidify Commitment to Intersectionality

The organization makes its way south for the first time

By Mary Emily O’Hara

Since its inception nine years ago, the 3% Movement has helped inspire waves of inclusive change across the advertising industry. With a pay equity pledge program, an in-depth agency certification for gender parity and conferences that bring diversity discussions to a massive stage, 3% is changing the game by leveling the playing field.

Founder Kat Gordon told Adweek that after 25 events around the globe, advertising’s most visible gender equality organization is pulling back from its frequent mini-conferences. Instead, the 3% Movement will have one major annual gathering in addition to its “seasonless” work consulting with the industry.

In 2020, the conference will move to Atlanta, bringing its impact to a black-majority Southern city for the first time. The move reflects Atlanta’s growth as an advertising hub and the 3% Movement’s commitment to approaching gender equality through a diverse lens. The city has one of the most visible LGBTQ populations in the country in addition to being a black culture mecca.

“It’s very much a crusade. And the people who come become foot soldiers in the crusade, so we want it to be truly intersectional,” Gordon told Adweek. “We don’t just want women here, and we don’t just want white people here. We want a true representation of the industry, and we want more male attendees as well.”

Gordon launched the 3% Movement after learning that only 3% of creative directors were women, a number that has since gone up to 29% (with Gordon’s work playing no small part.) But she wants to see an industry where women make up at least half of creative directors and where people of color are not only in higher roles but want to stay in those roles.

Focusing on gender parity in advertising means recognizing that some groups of women have unique needs and challenges. That’s why the 3% Movement commissioned the Parenting in Adland report to find out why mothers were under-indexing in the industry. And at the 2019 conference, 3% surveyed attendees to gather demographics. While the majority of attendees self-identified as white females ages 31-50 in senior leadership positions, 39% of people at the conference said their race or ethnicity was black, Latino or other non-white groups. In addition, men made up 21% of attendees, and a few attendees identified themselves as transgender or non-binary. The survey did not include a question about sexual orientation.

“Women aren’t a monolithic group,” Gordon said. “There are groups of women who need extra muscle from 3% applied to make sure they’re heard and celebrated and discoverable for hiring.”

As one of the major advertising hubs in the South, along with Miami, Atlanta agencies struggle with the same diversity and inclusion issues as any agency in New York or Los Angeles. Celeste Hubbard, executive vice president at full-service agency Chemistry, moved to Atlanta four years ago after a stint at 72andSunny’s L.A. office. Hubbard said that while Atlanta is a black-majority city, staffing at agencies has far to go to match the city’s resident makeup, something she believes the agencies are taking into account and working on.

“I think agencies are putting in that effort to recruit, identify and retain talent that comes from multicultural or minority backgrounds,” said Hubbard, noting that Atlanta is more than just home to massive corporate clients like Coca-Cola and Home Depot. It is also home to a groundswell of talent in music, film and television and influencer spaces.

Hubbard said that while agencies are still working on adding and retaining staff of color in Atlanta, it’s common to see agencies there working with “local entrepreneurial production and video content development companies that are often led by African-American young people that are making digestible content for the local digital platforms.”

Atlanta native Shannon Watkins, senior vice president of brand and creative services at Aflac, said that the city’s diversity and its stance as a sort of an outsider to traditional Madison Avenue advertising drive more creativity.

“Women and minorities in creative fields can thrive in Atlanta because the city itself is a creative community that is open to unique points of view,” said Watkins. “As a result, advertisers and marketers can focus on delivering breakthrough work without fear or judgment. And when that happens, creative ideas are delivered in their purest form and have the highest likelihood of breaking through in the marketplace.”

Atlanta is already a hub for women leaders in advertising who consistently push the industry to diversify. The city is home to executives like Ronnie Dickerson-Stewart, chief diversity officer for Publicis Groupe and former diversity and inclusion leader at Digitas, who was given the Nancy Hill award at 3%’s 2019 conference. The city is further drawing talent away from Silicon Valley with the recent move of Kimberly Easley from Facebook to Dentsu Aegis, where she now leads creative and executive talent recruiting.

And in Atlanta, you’ll find agencies like Moxie, which is easily identified as one of the most diverse offices on multiple levels, and women-founded companies like WeAreRosie.

While Atlanta is modeling the 3% mission, it’s not perfect. Hubbard said that women in Atlanta advertising too often work underneath the same glass ceiling that hampers women in other markets.

“When I’m attending client meetings or even when I’m in internal meetings within my own agency, oftentimes, the majority of the participants in the room are women,” Hubbard said. “Women are leading these projects and executing these massive deals and assignments, but then when you look at the vps and executives and higher, you’re not seeing that representation at the same percentage. It’s a complete flip.”