a.p.e. is back.
Special report: a.p.e. returns
Looking to boost the effectiveness of your advertising? Next week offers a rare (and simian-sized) opportunity to do so. Advertising Principles Explained – a.p.e. – is an in-depth look at the art of brand communications, storytelling and entertainment. Hosted by world’s leading thinker on creative effectiveness – Orlando Wood. Find out more or book your place here.
OPINION/ HISTORY
History: learn it, or become it
💬 Sir John Hegarty
Those in the creative industries are obsessed with the new. I saw it during my decades running ad agencies, and in recent years, this focus on the future has become even more pronounced among creative entrepreneurs. It’s little wonder: the pace of communication has sped up. So too has the rate at which new tech tools enter the market. I meet designers, strategists, art directors and writers who are in the grip of a mania to do with the next cultural shift, or the incoming wave of AI. Not identifying or adopting these things quickly enough is fatal – or so it seems.
Without an idea of your past, the future is utterly incomprehensible
A preoccupation with new is fundamentally important for creatives. At BBH we used to spurn the idea that we might only be as good as our last campaign. No: we were only as good as our next one. But in all this relentless effort to forge forwards, and to help clients create a prosperous future for themselves, I always felt like it was crucial to have a knowledge of creative history. Because without an idea of your past, the future is utterly incomprehensible. I encouraged creatives to study the greats. For instance, the punch and persuasion contained in the work of Doyle Dane Bernbach in the US. And the irreverent humour in much of the material by Collet Dickenson Pearce in the UK.
Today when I talk to audiences of people in advertising, I do a straw poll. How many of you, I ask, have sat down, and watched every Cannes Grand Prix winner? If it’s a big crowd you might get three hands shoot into the air. Now, viewing every ad in that category takes about an hour and a half. Why haven’t they bothered? Because our industry – and, I would argue our civilisation – regularly overlooks the value associated with understanding history. Those who do, have an edge on those who don’t. I had a great history teacher at school. The first phrase he said to us when he entered the classroom was simple. “I’m here to teach you history. History isn’t about the past, it’s about the future.”
THE AGENDA
🗓️ Diarise this: your agenda for the coming week
1.
The Glasgow International Comedy Festival is back and bigger than ever. Over several weeks, top talent and fresh faces from around the world will be testing out their wittiest one-liners on audiences across the Scottish city.
12th – 30th March
2.
In the fast-paced world of the creative industries, it’s easy to forget the importance of rest. World Sleep Day highlights the benefits of snoozing for overall well-being. Sleep better, create better.
14th March
3.
The London Book Fair begins a fresh chapter with new director Andrew Ridgway at the helm. The event brings together authors and publishers as well as plenty of TV and film folk searching for titles to snap up for the screen.
11th – 13th March
4.
Just as Oscars buzz begins to fade, the Asian Film Awards sees cinematic excellence from the other side of the world celebrated in Hong Kong. This edition sees Korean screen icon Jang Dong-gun and his three decade-spanning career honoured with an Excellence in Asian Cinema Award.
16th March
5.
Irish communities around the world will be raising a Guinness on Monday in honour of Saint Patrick’s Day. In New York, the annual parade turns midtown Manhattan into a sea of green with festive floats and lively musical performances.
17th March
TOKYO / DESIGN
What 2030 looks like: Next-generation E10 bullet train from JR East
Source: japantimes.co.jp / East Japan Railway
High-speed style
The sleek design of a new bullet train was recently unveiled by the East Japan Railway Company. Not only does the E10 Shinkansen feature state-of-the-art technical upgrades, but acclaimed London firm Tangerine was called upon to come up with a design that would take the service to the next level. The resulting concept was inspired by the natural beauty of the landscapes carriages will be speeding through. Its exterior is adorned by petal-shaped motifs while the livery and interiors are an elegant mix of deep greens inspired by the mountains of Tohoku. Passenger comfort was also a top priority; there’s more room for luggage and only two seats per row to allow for more spacious environs. Japan has long excelled in transport design and with the E10 Shinkansen the nation is once again setting the standard for innovation.
ON CREATIVITY /
CHICAGO / ARCHITECTURE
Liu Jiakun, ‘Grand Canal Hangzhou Steelworks Park, Phase 1’ (2025)
Source: www.jiakun.com
A victory for versatility
From Luis Barragán’s technicolour tones to Tadao Ando’s monolithic minimalism, past winners of the Pritzker Prize have generally made their names through strict dedication to a signature style. Not so, however, with this year’s winner. Chinese architect Liu Jiakun has been praised instead for the versatility of his work and refusal to conform to any defining look. Over his four-decade career, he has focused on creating functional, understated academic buildings, museums, and public spaces that reject architectural excess. His work emphasises local history, nature, and craft traditions, often prioritising methodology over form. In a world where creatives so often strive to find a distinct look that will solidify identity and build renown, Jiakun believes that a fixed style can indeed limit creativity. Better, instead, to focus on design excellence that responds to each project’s specific needs and context.
LONDON / ART
Holly Herndon, Mat Dryhurst, ‘Embedding Study #1’, ‘Embedding Study #2‘ (2025)
Source: www.christies.com
State of the arts
Last week saw Christie’s first-ever auction dedicated to AI-generated art. Opposition was fierce – an open letter with some 4,000 signatures urged the business to cancel the event, claiming that AI models exploit human creativity without consent. It went ahead regardless, even surpassing expectations by bringing in $728,784 in sales. The top lot, Refik Anadol’s Machine Hallucinations – ISS Dreams – A, sold for a respectable $277,200. Fuelling the bidding wars was a new wave of collectors, nearly half of which were Millennials or Gen Z, and 37% first-time buyers at Christie’s. Like it or not, the sale’s success indicates that AI art is carving out a place in the market. Rather than bury their heads in the sand, industry leaders would do well to think long and hard about how human creativity can best be protected in a way that works with, rather than against, the rising technological tide.
Anyone who tries to make a distinction between education and entertainment doesn’t know the first thing about either.
