The race to the bottom: why agencies keep making offensive adverts

Remember the Hyundai suicide advert? Or the campaign that suggested Flora margarine could strengthen your heart against the shock of having a gay child? Josh Lowe investigates why these deeply offensive campaigns ever see the light of day.

In April this year, Holly Brockwell, an advertising copywriter who blogs as Copybot, wrote a searing open letter to the car company Hyundai and one of their ad agencies, Innocean, about how they had made her sob to the point of nausea with an ad.

The one-minute viral video was based around a simple gag. A threadbare older man has decided to end it all. We know this because we see the taped-up windows of his car, the exhaust feeding in, billowing around him. We assume we are watching a promotional film for MIND. But then, aha! It turns out this tool is even more pathetic than we thought. He’s trying to top himself with his squeaky clean Hyundai ix35, the moron! Didn’t he know, as a line of copy subsequently informs us, that it produces only “100% water emissions”? Our poor sap trudges back to the house, presumably to stick his head in an electric oven or something.

Brockwell didn’t feel able to get in on the joke, as her own father had killed himself in a similar way years before. As she put it in her letter:

I understand better than most people the need to do something newsworthy, something talkable, even something outrageous to get those all-important viewing figures. What I don’t understand is why a group of strangers have just brought me to tears in order to sell me a car.

This has all been discussed before - the ad provoked massive controversy, leading Hyundai to pull it. Their defence, though, was interesting. The FT reported a spokeswoman as saying that the car company had not commissioned or approved the film. The agency chimed in: they had been looking for “consumers’ feedback on creative ideas employing hyperbole to dramatize [sic] a product advantage.” Their only misstep was to do so online, in a prominent place, with people all over the world at the same time.

Once you start to look for it, you realise how pervasive this problem has become. A recent campaign by Lowe and Partners South Africa which advertised Flora margarine as strengthening your heart against the shock of having a gay child was an embarrassment to parent company Unilever, who stressed that it “was not approved”. At the beginning of this year, JWT India produced caricatures of women being abused to great outcry. Ford, for whom the ads were made, denied signing off on them.

“Ad creatives exist in a strange world,” Brockwell tells me. “Their boss wears jeans, the head of HR uses the C-word... making a hilariously tasteless joke ad and sticking it up on the wall in the agency can be a way of letting off steam during a stressful week.” In such a insular, pressurised environment, the responses of outsiders can be a shock: “Those jokes would be perceived extremely differently outside the agency, and when they’re leaked... it’s often only then that the creators see their joke through everyone else’s eyes.”

Ten years ago, Gordon Young, editor of communications and media magazine The Drum, noticed a similar issue. Advertising creatives were increasingly bending or breaking the rules of competitions in order to get tasteless or provocative work entered and make a splash. In response, he created the Chip Shop Awards which recognises “creativity with no boundaries”. “Why try and ban it?” reasons Young, “why not create a platform where they can show it and everybody knows exactly what they’re looking at?”

Why not indeed? Winners of the last awards include a poster of the queen taking a dump to plug Immodium ("Spending Too Much Time On The Throne?") and a spot for popular kids’ boredom-averter Top Trumps depicting a fictional classic entertainers’ set (think Savile, Glitter) and the slogan "Played With Since The 70s". The site carries a hefty disclaimer, meaning that onlookers are likely to view entries and winners with a permissive eye.

When playful platforms like these are available, it’s odd how many other avenues creatives find for releasing their work. One popular forum is adsoftheworld.com, an advertising archive and community which allows anyone to post examples of creative work and receive feedback.

Founder Ivan Raszl found himself at the centre of the aforementioned JWT India/Ford controversy. Creatives from JWT India posted work on the site which demonstrated the capacity of the Ford Figo’s extra-large boot with a cartoon showing Silvio Berlusconi peace-signing to the camera from the driver’s seat with three scantily clad women hogtied in the back, one of them weeping. Another showed Paris Hilton winking while, behind her, grotesque caricatures of the Kardashians struggled to slip their bonds. The internet was not happy.

In a blog written near the time, Raszl explained: “I feel in India... the celebrities and politicians portrayed in the campaign are seen as only comical characters, not as integral players of [sic] the society.” The problem, however, was that “in America the suggestion of sexual exploitation with criminal intent and kidnapping is no laughing matter in any context.” I’m sure many Indians would beg to differ, but his basic point should be familiar to us by now. Out of context, these things blow out of proportion.

So why take the risk of posting there? Raszl thinks creatives often get carried away and misunderstand their superiors: “the client may say on [sic] the meeting; ‘bit risky, but I like it’. And creatives may take it as approval.” His site offers an individual creative or teams of creatives a chance to generate instant publicity. He tells me that “many people [get] new jobs or promotions” as a direct result of uploading ads.

Blaming a tasteless ad on the bravado of art school grads dizzy from consecutive all-nighters is tempting, but everyone I speak to is clear that there is often a darker force at work. “I'm sure these things don't happen by accident as agencies would be too worried about losing clients and agencies and production companies normally have NDA's in place which have heavy financial penalties,” one agency head points out. Often the client, less closely associated with a piece of work than the agency, reaps a double benefit from a leak. They get a publicity spike driven by the off-colour material, followed by a chance to look decisive when they deny all knowledge and condemn the mad men behind it.

For Young, there’s a “checkered background”: sometimes the client is the victim. He suspects, for example, that “Unilever would have been appalled at the Flora campaign.” Sometimes, however, clients leak ads, or at least know they are being leaked, for PR benefit. How can we tell? “I think you’re looking at some of the stuff that works quite well,” he says. Without contradicting their official line, he does bring up Hyundai as an example of a brand he reckons benefitted from a backlash. “It made the brand seem a bit more risque than Hyundai is usually associated with being,” he says, and the ad clearly demonstrated a product benefit: “it was probably very good at getting their message over.”

This is a digital-age phenomenon. The number of platforms available to creatives and the lack of money involved makes this kind of stunt not only infinitely easier, but also allows the client to maintain what Young calls “plausible deniability.” Since accidents do genuinely happen so often, clients can play on public acceptance of that to get away scot free. As Brockwell says, it “creates [a] perfect storm of low risk and high potential... if you can say ‘a bigger boy did it and ran away’ and actually get away with it, why wouldn’t you?”

Is there necessarily a problem here? Young says that the threat of a social media storm makes the industry feel accountable. Nowadays, he points out, the advertising world is disparate and ill defined, and none of its regulatory bodies exercise full control over everything that could be deemed advertising. The possibility of online retribution keeps clients and agencies in check. In my own experience, the prevailing opinion in the communications industries is that debate and outrage are inherently good things anyway.

But Brockwell thinks the industry should be aiming as high as possible. “Advertising contributes to culture in a major way,” she says, “A kid watching TV learns as much about gender roles from the deodorant ad in the break as from the programme on either side. That means advertisers are as responsible for social norms as the people making mainstream content – in other words, very responsible indeed.” Yet what makes advertising interesting to her is the low regard in which it is generally held: “writing for advertising is particularly fun because people hate ads. It’s that much more rewarding when someone praises your ad, because unlike an article or story, they started out hostile to it.”

Brockwell’s point explains why this is more than a harmless case of marketers co-opting moral outrage. Advertisers using poor taste to drive traffic is an insult to the medium they work in. Agencies and clients see the distaste audiences have for being sold to, and rather than either holding off or trying to show them something positive, they bend that distaste to their own ends. At a time when clickbait lurks on our finest news sites and broadcast debate encourages shouting heads rather than talking ones, content creators across all media should take note. It might be easy to shrug off the disapproval of your viewers, but the results won’t be pretty. Besides, trying to change their minds is a lot more interesting.
 

An image from the Flora campaign, put together by Lowe and Partners South Africa.

Josh Lowe is a freelance journalist and communications consultant. Follow him on Twitter @jeyylowe.

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The 11 things we know after the Brexit plan debate

Labour may just have fallen into a trap. 

On Wednesday, both Labour and Tory MPs filed out of the Commons together to back a motion calling on the Prime Minister to commit to publish the government’s Brexit plan before Article 50 is triggered in March 2017. 

The motion was proposed by Labour, but the government agreed to back it after inserting its own amendment calling on MPs to “respect the wishes of the United Kingdom” and adhere to the original timetable. 

With questions on everything from the customs union to the Northern Irish border, it is clear that the Brexit minister David Davis will have a busy Christmas. Meanwhile, his declared intention to stay schtum about the meat of Brexit negotiations for now means the nation has been hanging off every titbit of news, including a snapped memo reading “have cake and eat it”. 

So, with confusion abounding, here is what we know from the Brexit plan debate: 

1. The government will set out a Brexit plan before triggering Article 50

The Brexit minister David Davis said that Parliament will get to hear the government’s “strategic plans” ahead of triggering Article 50, but that this will not include anything that will “jeopardise our negotiating position”. 

While this is something of a victory for the Remain MPs and the Opposition, the devil is in the detail. For example, this could still mean anything from a white paper to a brief description released days before the March deadline.

2. Parliament will get a say on converting EU law into UK law

Davis repeated that the Great Repeal Bill, which scraps the European Communities Act 1972, will be presented to the Commons during the two-year period following Article 50.

He said: “After that there will be a series of consequential legislative measures, some primary, some secondary, and on every measure the House will have a vote and say.”

In other words, MPs will get to debate how existing EU law is converted to UK law. But, crucially, that isn’t the same as getting to debate the trade negotiations. And the crucial trade-off between access to the single market versus freedom of movement is likely to be decided there. 

3. Parliament is almost sure to get a final vote on the Brexit deal

The European Parliament is expected to vote on the final Brexit deal, which means the government accepts it also needs parliamentary approval. Davis said: “It is inconceivable to me that if the European Parliament has a vote, this House does not.”

Davis also pledged to keep MPs as well-informed as MEPs will be.

However, as shadow Brexit secretary Keir Starmer pointed out to The New Statesman, this could still leave MPs facing the choice of passing a Brexit deal they disagree with or plunging into a post-EU abyss. 

4. The government still plans to trigger Article 50 in March

With German and French elections planned for 2017, Labour MP Geraint Davies asked if there was any point triggering Article 50 before the autumn. 

But Davis said there were 15 elections scheduled during the negotiation process, so such kind of delay was “simply not possible”. 

5. Themed debates are a clue to Brexit priorities

One way to get a measure of the government’s priorities is the themed debates it is holding on various areas covered by EU law, including two already held on workers’ rights and transport.  

Davis mentioned themed debates as a key way his department would be held to account. 

It's not exactly disclosure, but it is one step better than relying on a camera man papping advisers as they walk into No.10 with their notes on show. 

6. The immigration policy is likely to focus on unskilled migrants

At the Tory party conference, Theresa May hinted at a draconian immigration policy that had little time for “citizens of the world”, while Davis said the “clear message” from the Brexit vote was “control immigration”.

He struck a softer tone in the debate, saying: “Free movement of people cannot continue as it is now, but this will not mean pulling up the drawbridge.”

The government would try to win “the global battle for talent”, he added. If the government intends to stick to its migration target and, as this suggests, will keep the criteria for skilled immigrants flexible, the main target for a clampdown is clearly unskilled labour.  

7. The government is still trying to stay in the customs union

Pressed about the customs union by Anna Soubry, the outspoken Tory backbencher, Davis said the government is looking at “several options”. This includes Norway, which is in the single market but not the customs union, and Switzerland, which is in neither but has a customs agreement. 

(For what it's worth, the EU describes this as "a series of bilateral agreements where Switzerland has agreed to take on certain aspects of EU legislation in exchange for accessing the EU's single market". It also notes that Swiss exports to the EU are focused on a few sectors, like chemicals, machinery and, yes, watches.)

8. The government wants the status quo on security

Davis said that on security and law enforcement “our aim is to preserve the current relationship as best we can”. 

He said there is a “clear mutual interest in continued co-operation” and signalled a willingness for the UK to pitch in to ensure Europe is secure across borders. 

One of the big tests for this commitment will be if the government opts into Europol legislation which comes into force next year.

9. The Chancellor is wooing industries

Robin Walker, the under-secretary for Brexit, said Philip Hammond and Brexit ministers were meeting organisations in the City, and had also met representatives from the aerospace, energy, farming, chemicals, car manufacturing and tourism industries. 

However, Labour has already attacked the government for playing favourites with its secretive Nissan deal. Brexit ministers have a fine line to walk between diplomacy and what looks like a bribe. 

10. Devolved administrations are causing trouble

A meeting with leaders of Scotland, Wales and Northern Ireland ended badly, with the First Minister of Scotland Nicola Sturgeon publicly declaring it “deeply frustrating”. The Scottish government has since ramped up its attempts to block Brexit in the courts. 

Walker took a more conciliatory tone, saying that the PM was “committed to full engagement with the devolved administrations” and said he undertook the task of “listening to the concerns” of their representatives. 

11. Remain MPs may have just voted for a trap

Those MPs backing Remain were divided on whether to back the debate with the government’s amendment, with the Green co-leader Caroline Lucas calling it “the Tories’ trap”.

She argued that it meant signing up to invoking Article 50 by March, and imposing a “tight timetable” and “arbitrary deadline”, all for a vaguely-worded Brexit plan. In the end, Lucas was one of the Remainers who voted against the motion, along with the SNP. 

George agrees – you can read his analysis of the Brexit trap here

Julia Rampen is the editor of The Staggers, The New Statesman's online rolling politics blog. She was previously deputy editor at Mirror Money Online and has worked as a financial journalist for several trade magazines.